Note: This is a legacy version of this page, which will be removed once Google catches up to my new site, www.DocWurly.com. This page is no longer being updated. The new version of this page is here. Please update your bookmarks so you can receive the latest data on Wurlitzers Electric Pianos.
I began this page in July 2014. I’d realized there was no one page on the internet that listed every Wurlitzer Electronic Piano model, its years made, and its basic, differentiating features. Well, now: Here it is.
I hope others find this helpful, and can help me make the dates and data even more accurate and specific. Please click here for a recent epiphany on ways you can far more accurately approximate the date of your Wurli’s assembly.
I tune and regulate these pianos. I make house calls in greater New York City, including parts of Long Island. I don’t check this site often. It is best to call me: 347-619-2464.
Click: Wurlitzer Tuning, Regulation & Repair
New: Testimonals from satisfied customers
The list is followed by some important notes about reed styles (now found here), and other clarifications.
The descriptions of differentiating features between models should be taken as general guides. It is becoming increasingly clear that Wurlitzer had a policy of using up parts whenever possible. Therefore, certain models (The 112A, the first run of 140/145/720) seem to be hybrids designed to use up parts before a major transition goes into effect–or, they are, in effect, short-run prototypes. In other cases, (the earliest 140B’s, the earliest 200A’s), it appears that completely-assembled instruments from the prior model run had the newest amps put in at the last minute, and were badged with the newest model number, in spite of being hybrids of two distinct model generations. And so on.
Hint: Select 10 entries per page in dropdown for ease in navigating. The table is wide, and has some inadvertently hidden columns that you will see if you select text and drag to the right.
| # | Model | Earliest confirmed date yyyy-mm-dd (source) | Produced until... (mostly guesses) | Model type | Notes (scroll or click/drag text to right for additional/hidden columns-->) | Reed style | Amp | Vi· bra· to | Colors (scroll for more columns-->) | Speakers | Model | Serial numbers - earlier reported | Serial numbers - later reported | Quantity produced-- low hunch | Quantity produced-- high hunch | Links |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| # | Model | Earliest confirmed date (source) | Produced until... (mostly guesses) | Model type | Notes | Reed style | Amp | Vi· bra· to | Colors | Speakers | Model | Serial numbers - earlier reported | Serial numbers - later reported | Quantity produced-- low hunch | Quantity produced-- high hunch | Links |
| 0 | 1950s | 1950s: | ||||||||||||||
| 1 | 100 | 1954 | 1954 | Portable | Extremely rare, perhaps a prototype or the model placed in test markets. Not mentioned in most Wurlitzer literature--not even in the "reed compatibility" memos. Photo shows wrought iron legs (dif from those on 110) and a music stand that spans the whole instrument and attaches on the sides. (does this double as a carrying handle?) Is there a damper pedal? I'm guessing not. | 1 (?) | tube | n | Brown pebble-textured finish (guess) | 1 6" x 9" oval | 100 | ep-forum |
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| 2 | 110 | 1954-12 (Fred DiLeone) | 1955 | Portable | Wood & Brooks Action. This model seems to be quite rare; may have been replaced with the 111 within months. Manual exists, less rare than the keyboard as they continued using it, inappropriately, for the 111. "The 110 slides out of the case for servicing, as the top is fixed. The handle is also on the back, so the keys point down when carried as a suitcase." [Fred DiLeone, EP Forum] "Auxiliary pedal" mentioned only in action-removing instructions of manual, seemingly an afterthought (p.8); Some pix, not all, showing a right-side hole where it would go. The lead treble sustain brick of later 1950s models is not found here, though other smaller weights are attached at various spots. [says Fred, true of some 111's too.] Piano sits on a table with wrought-iron legs. Chair, w similar legs, matches table. | 1 | tube | n | "Brown pebble-textured finish" (Owosso Argus Press, June 28, 1955) "Pebblelac finish" (Manual, p. 15). | 1 6" x 9" oval | 110 | 1164 (only known number) | 1164 (only known number) | 200 | 1200 | photo ep-forum ep forum |
| 3 | 111 | 1955-03 [Fred DiLeone] | 1955 | Portable | Wood & Brooks Action. Much more common than the 110, as several have shown up for sale recently. The body has changed, and now the action is accessible from the top, instead of sliding out the front. Apparently has no manual: One original owner was given a 110 manual instead (which confused him given the changes in accessing the works). Reed screws are under damper action and hard to access (true of all 1950s models). "The 111 is essentially a 112, with the 110 amplifier." [Fred DiLeone, EP forum] The lead treble sustain brick of later 1950s models is found on some of these- not all of them, and not sequentially by serial number. Still sits on table with wrought iron legs, matching bench. Er....sometimes, though some have screw-in legs like the 112. A lot of variety for such a short-production instrument. Pedal mounts on side, also in 112; this is a terrible design. Unlike the later, bottom-mounting ones, these pedals are rare! Don't throw them out or repurpose them--that would be tragic. The 111 pedal attachment lacks the adjustable tension screw of the 112. | 1 | tube | n | Brown pebble-textured finish | 1 6" x 9" oval | 111 | 1298 | 1377 (May 11 1955), 1439 (May 25, 1955) 1503 (March 55, no sustain brick) | 400 | 2900 | EP Forum EP Forum |
| 4 | 112 | 1955-06-02 (schematic) | 1956 (mid year?) | Portable | Wood and Brooks Action. 112 is frequently claimed to be 1st model produced in greater quantity. Perhaps; although several 111's have shown up, recently. A heavy lead brick, bolted over top 8 reed screws for improved sustain, is not shown in manual, but exists on instruments by at least March 1956. (As it is on some 111's, may be on all of 112's). No dampers on those 8 notes. Wooden legs attach to instrument. See note on side-mounted pedal in model 111. The 112 pedal attachment is improved from the 111: There is an adjustable tension screw with a spring, which changes the damper-lift properties in relation to pedal-depth. Reed screws are not interchangeable with post-1956 reed screws. Different gauge, different design. Washers are separate from screw, and their positioning can impact the tuning, especially if reed tip is facing (incorrectly) upwards. This can be an advantage or disadvantage. 112's, and the 2 earlier variants, are a royal pain to service (tuning and regulation). The company simply wasn't yet designing these with ongoing maintenance in mind, and as a result, everything takes 4 to 6 times longer to repair. As with all 1950's-era models, this should be a consideration before investing in one. Of course, they are fantastic once they have been serviced. They will never have the feel of a post-1961 model, and this should not be expected of them. The conception is far more primitive. The sound and feel are unique, though, and this can be appealing. | 1 | tube | n | Sandstone beige (lighter than 111) | 1 6" x 9" oval | 112 | 1331 (!! This is in the middle of the 111 serial numbers...leftover plate?), next known is 4100 | 5472 6198, 6609 (Mar 23, 1956), 7763 (!! Later than all known 112A numbers.) | 2609 | 5700 | http://ep-forum.com/smf/index.php?topic=7900.0 http://ep-forum.com/smf/index.php?topic=7084.5;wap2 http://www.vintagevibe.com/service-center/wurlitzer-manuals-and-tech-tips/ |
| 4.1 | ||||||||||||||||
| 5 | 112A | June 1956 (reed bar stamped "L," slightly different from March '56 112, may be 112A); 1956-10-19 (note #7) | 1956 | Portable | Pratt-Read Action. A radical physical revision, which deserved more than the mere "A" appended to its model number. Pedal mounts not on right side, but on bottom, behind middle E and F, for the first time (a pedal design which is retained, with only modest changes, through 1983). These and 120 series are arguably even more complex/ difficult to regulate than earlier actions. (See more detail on this in 120 entry). In short, this is a briefly available hybrid of the 112 (amp, reeds, basic look of the exterior) and the upcoming 120 (same pedal, and similar, not same, action). Lead sustain brick still covers top 8 notes, instead of the 11 notes of the upcoming 120, so this action has three more dampers than the 120. They didn't bother making a manual for it, even though its significant changes warranted one; they just inserted a couple of new pages into the 112 manual. According to Fred DiLeone, the key sticks are longer than on a 120, with a stop at the back to prevent them from bouncing up. They are also different from the 112 keys. Through trading photos, we compared reed bars with a 112. They matched one of the 112 reed bar variants (from early in 1956, as opposed to the mid-year version....strangely). As I've never heard one played, I wonder: Is the strike-line of the hammers here different than on the 120, to take into account the different reeds? (If you put a lower register 120 reed in a 112, it doesn't do so well: Hammers "thud" in an nodal spot, and presumably vice versa.) Or, did they change the specs on the 120 reed bar and reeds because this setup wasn't working so well? The serial numbers are interspersed with known 112 numbers, in both the 6000 and 7000 ranges. It begs the question: Were these models being produced at the same time? Or were there odd gaps in the 112 serial number ranges, which the 112A filled in? And why the "P" designation at the end of some serial numbers? For "Pratt Read"? | 1 | tube | n | Sandstone beige | 1 6" x 9" oval | 112A | 6227? (Reported by an ebay seller. Lower than a known 112 number. Numbers may not be sequential). | 7006P, 7200P | 400 | 1300 | http://ep-forum.com/smf/index.php?topic=7900.0 https://groups.yahoo.com/neo/groups/Wurlitzer_Elec_Piano/conversations/topics/11874 https://groups.yahoo.com/neo/groups/Wurlitzer_Elec_Piano/conversations/messages/11892 |
| 6 | 120 | Very late 1956? 1957-01-16 (seen on masking tape on reed bar in serial #10036; 1957-5-21 (Wurlitzer note #9) | 1961 (possibly early 1962) | Portable | Photographic evidence suggests this is the Wurli Ray Charles used on 1959 hit "What'd I Say." Specifically, one of the 1958 variants with a Rorschach-blot/jigsaw look to the music stand. (Earliest ones have a "picket fence" style music stand.) Pratt-Read Action. All Pratt-Read Wurly actions (in this, the prior 112A, and the 700) are notably different in feel from earlier and later Wurlitzers. No springs except for damper arms. They feel lighter: More like an organ keyboard. Regulating action ("feel") requires a special tool. Black keys are further regulated with a set screw under the key. All technicians agree that these are a nightmare to maintain and restore, even though the results can be magic. First major revision of reeds. Lead sustain brick now covers top 11 notes (two blocks, 3+8 notes, on early ones). Lid of the 120 is metal instead of wood (a built-in hum shield). Some have same whip assembly as 112A, but design revised in 1959 [says Vintage Vibe]. Damper mounting bracket changes later in run; at first it is identical to 112A [Max Brink]. Amp and cabinet different from 112A. Volume control moves to left cheek block. There is no vibrato in this or any prior model. A three-speed tremolo was supplied in the "tone cabinet" accessory introduced at this time, the 920 (see accessories at the end of this list.) On a very early one (Jan 1957), low damper arms have heavy springs, switching to successively lighter gauges starting around middle C. Most, however, seem to have all light-springed dampers. Evidence suggests that a maximum of 15000 of the 120 plus 700 were produced, between late 1956 and 1961-2. This would imply a production of roughly 3000 units per year, or 250 units per month. This may be an overestimate if there are gaps in the numbering. They are (or were, depending on how many survive) the most common of the 1950's models. No instruments are showing up in serial numbers 9xxxx's. There may be no instruments with numbers existing between 23001 and 25001. It looks like different finishes, and later, the simultaneous model 700, had allotments of serial numbers, and it is not yet known if this means the serial numbers are out of production order (but likely). | 2 | tube | n | Two basic flavors: 1) Zolotone paint on wood (beige, white, red splatter effect) w/ tan-beige-yellow metal lid (seemingly only one color, though various examples seem to have discolored differently over time); 2) Dark Brown Mahogany (stained wood) w brown metal lid. Zolotone/beige version has a beige-colored pedal, at least on earlier examples. Last ones have black pedal. Later brown mahogany models have a lovely old-timey curved-top music stand shared by the 700 (see below). It is common to seem custom colors and veneers added to this model with logo decals expertly replaced, which explains further variations. | 1 6" x 9" oval | 120 | 8056 (Sandstone w yellow lid), 8553 (Brown Mahogany), 8999 (fake-birch veneer w beige lid) | 22728 (Sandstone, Rorshach stand) | http://ep-forum.com/smf/index.php?topic=7900.0 http://www.vintagevibe.com/service-center/wurlitzer-manuals-and-tech-tips/ | ||
| 7 | 700 | 1958-06-16 (Life Mag ad: "Steve Allen Plays the Fun Piano") | 1961 (possibly early 1962) | Console, wooden, w/ soft pedal | Pratt-Read Action. "Furniture" console version of 120. Soft pedals in this and the later various 720-series wooden console models are electronic, on/off, not mechanical. | 2 | tube | n | Wood, various furniture stains (brown mahogany, but also lighter/blonder wood stains) | 1 12" round | 700 | 12985, 15818, 17352, 17668 | 18679 | http://www.vintagevibe.com/service-center/wurlitzer-manuals-and-tech-tips/ | ||
| 7.1 | ^^^^^^^^^^ | ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ | ||||||||||||||
| 7.2 | Pre-200 1960s | Earliest confirmed date yyyy-mm-dd (source) | Produced until... (mostly guesses) | Model type | Notes | Reed style | Amp | Vi· bra· to | Colors | Speakers | Pre-200 1960s | Serial numbers - earlier reported | Serial numbers - later reported | Quantity produced-- low hunch | Quantity produced-- high hunch | Links |
| 8 | 140 | First manufactured between April and July 1962. First known ad is Nov. 3, 1962, New Yorker, so maybe they appeared in stores then. 1962-04-01 (action schematic); Series 2 PC board is 1962-07-10 (serial 25001). No earlier than 1961-03-14 (US patent 2,974,555 on faceplate), but almost certainly later. #25149's atypical, cryptic stamps may indicate May 7 to July 9 assembly. #25776 is date-stamped August 8, 1962. | 1963, early-late? Finished by October, maybe earlier. | Portable | Solid State amp version of simultaneously released 145 (below). It's as if, after 7 years of production, it had finally occurred to the designers that these instruments would need ongoing tuning and maintenance; and that they should rethink the instrument to make that process relatively efficient. The action has been entirely redesigned, and resembles neither the 110-112 conception, nor the 112A-120-700 conception. They'd arrived at a good, workable idea here, and they would stick with it, only slightly revised, throughout the entire rest of the production run of Wurlitzer Electric Pianos. Vibrato is introduced (prior to this model it was only available in accessory "tone cabinet" 920). Reeds attached 180° from prior models: Reed screws are now below the front end of damper arms, far more accessible for tuning and replacement. Damper arms are long, covering reed screws, which is still an inconvenience. Top 11 notes are still damper-free as in 120, but the treble sustain brick that had gone here in prior series was retired by this time. Reeds are compatible with 120 series except for unique bass register; only true for these three, briefly-produced models (no A or B in model names). Volume/Vibrato controls on top assembly (front of lid). Reed screws are shorter than in 120 series. (5/16 instead of 7/16 inches.) For the first time, range is split between two 32-note reed bars. The need for a sustain brick appears to have been negated by adding overhanging mass to isosceles trapezoidal wedges at fronts of reed bars. Again, this will be retained, going forward. The 140, 140A, and only the earliest 140B's had an optional battery pack (see item 940 at bottom of the chart). This makes these the only Wurlitzer that didn't require a wall outlet until the very rare 200B in the early 1980s. These 3 models of 1962-3 pre-A's may have have a total production of no more than 4000, split between the three models (based on serial numbers). I have not yet encountered any of the three models in this series that had original reeds and amp entirely intact. I have a hunch I have heard them though: Is this the Wurlitzer heard on the Seeds' "Pushing Too Hard," and Bob Dylan's song "Highway 61"? If so, I would say that the combination of the 120-style reeds and the drastically-changed action resulted in an especially quirky, reedy sound, perhaps with a short decay. This may be why the reeds were redesigned for the next run. Volume and vibrato knob are on the lid, rather than the cheek block, in 140, 145, 140A, and 145A. These 4 models are visually hard to differentiate if serial number badge is missing. The 720 and 720A also look superficially similar. If lid is removed, the earlier "non-A" series can be visually identified by the 11 damperless arms on the uppermost notes (vs merely 5 on the "A" series and all later 64-note Wurlitzer EPs). Amps used (140 vs. 145) will further ID models. | 3 | solid state | y | Sandstone beige | 1 6" x 9" oval (4 ohm) | 140 | 25001 (earliest?), 25149 (an existing instrument) | 26048 | http://www.vintagevibe.com/service-center/wurlitzer-manuals-and-tech-tips/ | ||
| 9 | 145 | Release could be Nov. 1962, as above. Or, between April and July 1962, as above. | 1963, early-late? Finished by October, maybe earlier. | Portable | Tube amp version of 140 (above). See 145B (below) for discussion of 145-series amps. | 3 | tube | y | Sandstone beige | 1 6"x9" oval (4 ohm) | 145 | 30177 (earliest? 4-15-1965 issue 3 amp schematic), 30534 (known) | 30856 | |||
| 10 | 720 | Release could be Nov. 1962, as above. Or, between April and July 1962, as above. | 1963, early-late? Finished by October, maybe earlier. | Console, wooden, w/ soft pedal | Console version of 145 (uses same tube amp). Controls on cheek block. Electronic soft pedal. | 3 | tube | y | Brown Mahogany | 1 12" round (4 ohm) | 720 | 40001 (guess), 40095 (known), 40221 (known) | 40401 (by Jan 1963) | |||
| 11 | 140A | 1963, mid-late? By October, maybe earlier. A 720A (with "A" embossed, as if an afterthought), has keybed/keys date-stamped ranging from Oct 1962 to Feb 1963. But main rail has date-stamp of Oct 1963. I suspect, as with "B" line, that earliest ones were half- assembled in prior era, then revised at the last minute. | 1964, March-April (production); August, or beyond. (distribution) Argument for March: Late 145A has March 7 date stamp on keys, and an early 145B, from 164 serial numbers later, has an April 28 date stamp. (However, that March 145A may have been completed later in year--main rail not checked.) Argument for August or later: Note #17 about "Reed Interchangeability," from August 17, 1964, doesn't acknowledge B's existence. Transition moment to "B" line is slightly unclear: Were early 140B's, with April 1964 date stamps, merely A's that had been retrofitted with different amps? Some reports suggest early B's had same reed screw problem. | Portable | Models in this uncommon "A" series have the potential to play as well as in the classic "B" series. But there was a serious, correctable flaw, which must be addressed in any decent servicing. Read carefully. These are often misidentified as "140" (no "A") because the "A" in serial plate can be an added, very light stamp; and they look similar on the exterior. Damper arms are still long, but only top 5 notes are damper-less-- when lid is removed, this is a surefire quick way to differentiate from "non-A" in case the badge is missing. (Same goes for 145A, 720A). Major change is in reed, to proto-200. Reeds above #20 have upward-facing tips for the first time. Does hammer position/ action change? (New reeds imply changed strike line and/or reed bar/ pickups; or, if action doesn't change here, reeds were perhaps redesigned to accommodate presumed disappointment of 120-compatible reeds in prior model). This series and 145B seem "disappeared" from later Wurlitzer manuals and catalogs, but certainly exist. No major change in amp from prior 140 series--same name to amp. Five mysterious 4th-octave reed screw plates, perhaps for sustain (or for taming overtones?), debut here and are retained into the 1970's models. Reed screw washers had buzzing and cracking problem, addressed in an August 1964 memo. (Tightening these screws lowers pitch--screws were revamped in B series). These screws should be replaced as a matter of course during any modern tuning or repair. They are terrifying. Notes will not hold pitch or sustain correctly unless screws and washers are replaced. One might guess, from the serial number evidence, that 3000 or so of the A's were assembled, split between the 3 models (140A, 145A, 720A). This model carried over battery pack option from 140. | 4 | solid state | y | Sandstone beige | 1 6" x 9" oval | 140A | 26450 | 27375 | http://www.vintagevibe.com/service-center/wurlitzer-manuals-and-tech-tips/ | ||
| 12 | 145A | 1963, mid-late? By October, maybe earlier. See note in 140A. | 1964, March-April (production); August, or beyond. (distribution). (See 140A) | Portable | Tube amp version of 140A, with reed changes and reed screw problems as above. Amp is still called "145" (no A). See 145B (below) for discussion of 145 series amps. See above (140A) for many non-amp details that apply to this model. | 4 | tube | y | Sandstone beige | 1 6" x 9" oval | 145A | 31299 | 32034 | http://ep-forum.com/smf/index.php?topic=8529.msg47624#msg47624 | ||
| 13 | 720A | 1963, mid-late? By October, maybe earlier. See note in 140A. | 1964, March-April (production); August, or beyond. (distribution). (See 140A) | Console, wooden, w/ soft pedal | Console version of 145A--the final console model with a tube amp ("145"), with a larger speaker than its solid-state successor (the 720B). Controls on cheek block. Electronic soft pedal. Reed/action changes and reed screw problems as in 140A, above. | 4 | tube | y | Brown Mahogany | 1 12" round (4 ohm) | 720A | 40586 | 41595 | http://www.miloco.co.uk/2014/incredibly-rare-wurlitzer-720a-and-other-new-toys-at-lion-aboard/ | ||
| 14 | 140B | First sold sometime after August 17, 1964, and by December 1964. "Reed compatibility" note #17 of August 17 doesn't mention the B line. Date stamp of April 28 is on one of first 150 of the 145B's produced--this one was sold in December 1964. I theorize, though, that this began life as a half-assembled "A", and was revised in mid-production and completed late in year. | 1967, November 7 (witnessed). 1972-4? (questionable.) or 1974-03-01 (Schematic update. Curiously late! typo for 1964?) | Portable | Knob controls on cheek block (vs. lid front) of portables, are only on B series--makes easy to identify. Shortly after this series is introduced, damper arms are revised to ~3/4 inch shorter, not overhanging the reed screws, making tuning much easier.* Most-documented/ promoted change in this B series, from evidence of manual, is the silicone and geranium transistor amplifier of the solid state models, quite distinct from geranium transistor 140/140A amp. The June 1966 schematic is a revision; B series were being manufactured by late April 1964 (although earliest examples are probably "A" model "hybrids" retrofitted with new electronics), and in stores by December '64 at the latest. Soon enough, reeds screws are vastly improved: shiny, stronger, with thick concave washers. This change is kept for all later models. Early screws are still a little dull-looking, with a flat top (not the "R" on the "classic" reed screws that were used for the next 17 years). Unclear whether washers went through a few iterations. *(But exact changeover point may be inconsistent/random, and B-series instruments exist with A-style long damper arms and, in a couple known cases, knob locations, too [say Chicago EP Co., and Retrolinear]. Maybe even those bad cracking reed screws, according to one source. #27895 (and early 145Bs including #32253) have long damper arms but cheek-block knob location.) #27895, very early, has battery pack jack in 140B amp. By #29808, this feature is gone from back "phono" panel of amp, and electronic part numbers are different on amp ("11-xxxx" instead of "65xxxx"). | 4 | solid state | y | Sandstone beige | 1 6" x 9" oval (8 ohm) | 140B | 27501 (Earliest? 3/74 PC Board diagram....is 1974 a misprint?), 27895 (known instrument), 29091 (June 1966 schematic, revised amp, parts are 11-xxxx instead of 65xxxx) | 34614, 38598. A number of 32380 was perceived on an Ebay listing, but would be smack dab in the middle of the 145B range....could be a bad photo. | http://ep-forum.com/smf/index.php?topic=7900.msg42288 | ||
| 15 | 145B | First sold sometime after August 17, 1964, but by December 1964. See note in 140B. | 1965 Sept 27 (latest witnessed instrument as of now. They may have phased these out as soon as the pre-existing amps were used up.) | Portable | Final tube amp model, with parallel physical changes to 140B's (usually short dampers and moved control knobs. Eventually, improved reed screws and washers). Unclear whether gradual changes throughout 145 amps correspond to model names, but probably not. Unlike 140B counterpart, this tube amp is always just called "145" (no A or B). We know the 145 amp had a 3rd issue by April 1965, but B series debuts 1964. As with the prior "A" series, this model disappeared from Wurly lit except for reed memo. Does this imply minimal changes? Doesn't quite make sense. "Made in small numbers til 1972-4" (says Sound and Circuit site, but this is highly unlikely. No evidence right now). Based on testimony of repair people, the very earliest 145B's may be indistinguishable from 145A's. Same long damper arms and/or knobs on lid and/or cracked reed screw problems. It's not bad to check for these traits before buying one. | 4 | tube | y | Sandstone beige | 1 6" x 9" oval (8 ohm) | 145B | 32253 (Skip Freese), 32339 (seen on Ebay, Oct 2015) | 33434 | http://soundandcircuit.webs.com/wurlitzerelectricpianos.htm http://www.vintagevibe.com/service-center/wurlitzer-manuals-and-tech-tips/ | ||
| 16 | 720B | First sold sometime after August 17, 1964, but by December 1964. See note in 140B. ^^^^^^^^^^ | 1967 (guess based on interpolation). | Console, wooden, w/ soft pedal | Console version of 140B with similarly redesigned amp. Unlike tube 720 and 720A, this is a solid state console (the first). Electronic soft pedal. Speaker is much smaller than in 720A. ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ | 4 | solid state | y | Brown Mahogany | 1 6" x 9" oval (8 ohm) [yes, smaller than 720 speaker.] | 720B | 42246 | 42246 | https://groups.yahoo.com/neo/groups/Wurlitzer_Elec_Piano/conversations/messages/6229 | ||
| 16.1 | NOTES on B Series: | -> | -> | -> | * *Thanks to Skip Freese, owner of 145B #32253, we have moved the in-store date of the B series to late 1964, and its production debut to April 1964. "In December of 1964 I bought a new Wurlitzer model 145B at Grinnell Bros music store in Detroit." This one has long damper arms, flat head reed screws, and maybe thinner reed washers (same type as on the 140A's? or are they slightly thicker/improved?). Wurlitzer EP Note #17, about reed compatibility, came out August 17, 1964, and didn't mention the B series. So, in spite of an April 28 date stamp on Skip's keys, we can assume these didn't hit stores until sometime between September and December. I have not yet found any "B" series instruments dated later than November 1967, in spite of online claims that they were made into 1968 (and unsubstantiated claim that 145B was made into early 1970's). No real-world 145B's dated later than July 1965, as of yet. Last schematic for tube amp is April 1965. Hard to tell how many B-model instruments were produced, in their various flavors. Probably far more than the pre-A and A versions. Could be as high as 9000, could be 6200, could be far less. Are there gaps in serial numbers? Unknown, but very likely certain ranges of numbers were reserved and never filled-in. "A" and "B" numberings pick up from their same-model-type pre-A number range allotments, and eventually 140B, 146B and 145B numberings share the 30000 range and possibly intermix (vague data). There seems to be a leap between late 140B "38xxx" numbers (circa late 1967) and the block of "40xxx" numbers first designated for the 1962 consoles. The 200 series seems to pick up around "48xxx," and there are probably some gaps in the 40000's prior to that. As with the 1974 early 200A "hybrids" that are made from leftover 200 parts, there are early "B" series instruments that are effectively re-badged A-series in one or more physical aspects, perhaps differentiated only with the new 140B amps. (Similarly, during the 1963-4 A-series, one can find instruments with parts that seem to date from pre-A production.) | |||||||||||
| 16.2 | ||||||||||||||||
| 16.3 | Pre-200 Music Lab Models | Earliest confirmed date yyyy-mm-dd (source) | Produced until... (mostly guesses) | Model type | Notes | Reed style | Amp | Vi· bra· to | Colors | Speakers | Pre-200 Music Lab Models | Serial numbers - earlier reported | Serial numbers - later reported | Quantity produced-- low hunch | Quantity produced-- high hunch | Links |
| 17 | 146B (see also 146, below) | 1966-06 (date stamp) or earlier; maybe even later 1964. | 1967, pre-October | Portable, Student | The "6" in the model number sets a precedent retained with the later 206 and 206A; they are all functionally similar variants on models ending in "0". It appears this solid-state student model, designed/wired to be connected/ monitored in series of 4 groups of up to 6 pianos each, for a total of 24 instruments, debuted with or after the 140B, and hence originally came with the "B" designation to make its lineage clear. (It appears there is no 146A, for example.) Other than this monitor wiring, it is indeed the same as a 140B, and uses the 140B amp. Confusingly, it appears that the 146 (w/ no "B") is later; date stamps and serial numbers both suggest this. I believe the 146B and the 146 are essentially the same model, for all modern-usage intents and purposes. Perhaps some aspect of the student/teacher circuitry is different...or not. Dropping the B might have been almost arbitrary. (It could have been changed to avoid confusion with an unrelated 146-B Band Organ that Wurlitzer sold in the 1920s.) First dating is difficult!! October 8, 1962 newspaper evidence of piano teacher Faye Templeton Frisch traveling using Wurlitzer teacher+multi-student headphone monitoring set-up (clearly a prototype, no known model number); and a March 1968 article describing Professor Lawrence Rast's Kansas City, U of Missouri lab usage 1964-66 (was 1964 a prototype, or its initial release?). Includes vibrato circuit, not hooked up. Unverified reports of tube amp versions (very unlikely, unless it is the prototype). I have created a separate line for the 146B and the later 146, as they seem to have distinct date and serial number ranges. But only the 146 (no B) is mentioned, rarely, in Wurlitzer literature. Mark C. owns a 146B (confirmed). The serial number of this example is sandwiched between a couple of known 140B serial number ranges, but with a current margin of at least 1000 numbers on each side. Numbering could have started at 35001 or 35501? Hunches, awaiting more data. | 4 | solid state | n* | Sandstone beige | 1 6" x 9" oval | 146B | 35629 (only known serial number, so far) | 35629 (only known serial number, so far) | https://groups.yahoo.com/neo/groups/Wurlitzer_Elec_Piano/conversations/messages/6229 | ||
| 17.1 | 146 | 1967-10-16 or earlier (date stamps, note #20). | 1967 (known); 1968 possible, not substantiated. | Portable, Student | This may be essentially the same model as the 146B. See explanation, above. Did serial number start at 46001? A hunch. | 4 | solid state | n* | Sandstone beige | 1 6" x 9" oval | 146 | 46001 (hunch), 46360 (known) | 46874 | https://groups.yahoo.com/neo/groups/Wurlitzer_Elec_Piano/conversations/messages/6229 | ||
| 18 | 147, (147B?) | 1967-10-16 or earlier (see 146) | 1967 (guess, if model exists.) | Portable, Teacher | Teacher version of 146, reported online only, witnessed at a concert. Is there a 147B? No evidence, pure conjecture. Is not mentioned in any known Wurlitzer memos. It is conceivable to me that this is a false report, and that the models were designed differently such that there was no "student" and "teacher" version of this piano. A manual would help to confirm the situation here. A video at Getty images, "Electronic music lab", shows the early setup. Unlike the later 207 with a control panel integrated into the lid, the teacher uses an "Electronic Communication Center," a switching panel that serves the same purpose of communicating with 4x6 student pianos. So perhaps she merely sits at a primary 146. | 4 | solid state? | n* | Sandstone beige (guess) | 1 6" x 9" oval | 147, (147B?) | https://beta.groups.yahoo.com/neo/groups/Wurlitzer_Elec_Piano/conversations/topics/11234 | ||||
| 19 | 726 (no B?), 726B, (727?) | 1967-10-16 or earlier (note #20) (see 146) | 1967 (guess) | Wood Console, student, soft pedal (assumption) | Wooden console. 726 listed in the 1971 reed "note #17", but the only ones people are claiming to own are 726Bs. Given the witnessed, otherwise undocumented 147 (above), is there an entirely undocumented 727 teacher model? It would logically follow. Be on the lookout! The mention of model 746 once in note #20 (Oct 16, 1967) is almost certainly a typo; they meant 726, as elsewhere in that note. Presumably has electronic soft pedal. Note #20 seems to indicate that model 726 has the same "student" functionality and wiring as the 146. | 4 | solid state | n* | Brown Mahogany | 1 12" round | 726 (no B?), 726B, (727?) | https://groups.yahoo.com/neo/groups/Wurlitzer_Elec_Piano/conversations/messages/6229 | ||||
| 19.1 | 727(B)? (Theorized model, unreported) | 1967 (if it exists at all) | 1967 (guess, if model exists.) | Wood Console, teacher, soft pedal (assumption) | See 726. For now, this is a mythical model. One person has reported the 147. This one is merely theorized by me. | |||||||||||
| 19.2 | ||||||||||||||||
| 19.3 | ^^^^^^^^^^ | ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ | ||||||||||||||
| 19.4 | 200 series (US) | Earliest confirmed date yyyy-mm-dd (source) | Produced until... (mostly guesses) | Model type | Notes NOTE: See later in table for Early 1970s German Variants (the 201 and the 300). | Reed style | Amp | Vi· bra· to | Colors | Speakers | 200 series | Serial numbers - earlier reported | Serial numbers - later reported | Quantity produced-- low hunch | Quantity produced-- high hunch | Links |
| 20 | 200 | 1968-09-01 (schematic); June 17, 1968 (keybed datestamp of #49387, though electronics -european-- are from Sept-Oct '68.) | Late 1974 (September 14 known) | Professional Portable | This series marks the single biggest change in the look of Wurlitzer's Electronic Pianos, which is retained throughout the rest of their run: Curved plastic tops, much lighter construction. But the action is a continuation of the last 140B series revisions, except that capstan screw is moved from far end of key to whip above key. Speakers mounted on body, not, as in non-hybrid models of later "A" series, in lid. (This is an easy way to ID.) The five 4th-octave rectangular reed screw plates are retained. Legs are now chrome, not wood. There are now two speakers. On the earlier instruments, "The Speaker at the bass end accents the bass notes and the one at the treble end stresses the highs, to give a stereo effect." This seems to have been achieved through cone design. Date of switch to "same speakers" unknown. Rarest 1st ones, 1968-early 1969, have legs with secondary supports, attached with slots/flanges instead of screws; faceplate labels atypically *below* knobs; different design to metal music stand ; grille patterns with gaps in middle (thanks Mark Cimarolli!). | 4 | solid state | y | "Jet Black, Golden Beige Deep Red, Forest Green" according to 1968 literature | 2 4" x 8" oval (16 ohm), on body | 200 | 48159 | 85491L (Sept 1974) | Dating to March 13, 1974: http://ep-forum.com/smf/index.php?topic=8253.0 http://ep-forum.com/smf/index.php?topic=6290.0 |
||
| 21 | 203 | 1968-09-01 (schematic) | 1971 (If replaced by model 203W), Late 1974 (guess) | Console, home | Home console version of 200, body similar to 206 and 207. I surmise that the version with 4 8" round speakers has 2 of the speakers facing back for audience (as in 203W). No Pull-out tray nor storage area. Was this discontinued and replaced when 203W was released? I've found no overlap. | 4 | solid state | y | Black | 2 4" x 8" oval + 2 8" rnd, or 4 8" rnd | 203 | 55217 | 55294 | |||
| 22 | 206 | 1968-09-01 (schematic) | Late 1974 (guess) | Console, student | A common classroom model. These were hooked in series to other 206s and to the teachers' model, the 207. (As with the 146, a total of 24 206's could be connected.) Pull-out tray and storage area. Mark Cimarolli: "Some early 206’s have speakers like a 200. Those are the ones that have two openings on the cabinet. The ones with the long single opening have grill speakers." | 4 | solid state | n* | Beige (also avocado green?) | 2 4" x 8" oval (16 ohm) or 2 8" round | 206 | 48159 | 85367L | |||
| 23 | 207 | 1968-09-01 (schematic) | 1973-06-1 (schematic), Late 1974 (guess) | Console, teacher | The "teacher/instructor" version of the 206. Four groups of 1-to-6 206's can be attached to it, for a total of 24 student units. Pull-out tray and storage area. | 4 | solid state | n* | Beige | 1 6" x 9" oval or 1 8" rnd or 2 8" rnd (all 8 ohm) | 207 | 49151 (listed in an early schematic) | 84135 | |||
| 24 | 106 (set), 106P (indiv) | 1971-06-01 (Schematic, in standalone manual) | 1972-11-07 (Chicago Electric Piano Co), or mid-1975 (serial number of a set crosses "A" series, but numbers may not be consecutive.) | Classrooom set, "Mobile Music Learning Center" P = "Pupil" | A rare 44-note classroom model. The 106 is a set of 8 106Ps folded out in single frame. Has a unique (to post-1950s models) single reed bar design, producing greater resonance. Its range is from reed F-9 to C-52. | 4 | solid state | n | Orange, Beige | 1 4" x 8" oval | 106 (set), 106P (indiv) | 60001 (according to schematic. These seem to correspond to sets.) | 87733 | http://chicagoelectricpiano.com/wurlitzer/wurlitzer-orange-106p/ | ||
| 25 | 214 | 1971-06-01 (schematic) | Late 1974 (guess) | Console, classroom | Console with wheels. A classroom-marketed variation of seemingly simultaneously-released 203W (below). Has additional tape in/out and phono in. Pull-out tray. | 4 | solid state | y | Black | 4 8" round | 214 | 67845 | 80240 | http://www.ep-service.nl/joomla/index.php?page=shop.product_details&flypage=shop.flypage&product_id=152&category_id=19&manufacturer_id=0&option=com_virtuemart&Itemid=3 | ||
| 26 | 203W | 1971-06-01 (schematic) | Late 1974 (guess) | Console, home | Variation of 203. The "W" is apparently for "wheels." Is that the only difference from a later 203? Did it replace 203 or did they exist side by side? Two pairs of larger speakers, one facing back (for audience) and one facing forward. No speakers in upper section. Electronics are unusually easy to remove for regulation (on one I have seen), due to a 9-pin plug. Unlike 214, no pull-out tray. | 4 | solid state | y | Black | 4 8" round | 203W | 71210L | 75893L | |||
| 27 | 207V (208V?) | 1973-1-1 (Schematic for 208 Key Note visualizer.) | Late 1974 (guess) | Console, teacher | 207 upgrade with "Key Note Visualizer" Model 208 attached/installed (See item #47.) Visualizer manual mentions "208V Communication Electronic Piano"; unclear whether this is quickly amended alt name for 207V piano, or name used for combo of 207V + visualizer. | 4 | solid state | n* | Beige | 2 8" round (8 ohm) | 207V (208V?) | http://chicagoelectricpiano.com/a-rare-breed-indeed/wulitzer-student-model-classroom/ | ||||
| 28 | 214V | 1973-1-1 (Schematic for "208V" Key Note visualizer) ^^^^^^^^^^ | Late 1974 (guess) | Console, classroom | 214 upgrade with "Key Note Visualizer" Model 208 attached/installed, physically and electronically (See item #47.) ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ | 4 | solid state | y | Black, green | 4 8" round | 214V | https://www.youtube.com/watch?v=01--HqC05LY | ||||
| 29 | Boeing/ American Airlines 747 Coach Lounge Piano | August 1971 | 1973 (guess) | Grand Console | A remarkable electric piano that could be found in the cocktail lounges of American Airlines 747 jet planes starting in 1971. It was designed to look like a mini grand piano (not unlike the general proportions of the later 270). The whole "body" section functioned as a bar and could have drinks propped on it. There were ashtrays at the bass and treble ends. The whole thing was upholstered like a faux-leather couch. Please google this thing. It's amazing. | 4 | solid state | y | Brown, Gold faceplate, orange speaker grille | unknown | Boeing/ American Airlines 747 Coach Lounge Piano | unknown | unknown | http://unroadwarrior.boardingarea.com/2010/07/21/the-747-piano-bar/ | ||
| 29.1 | 200A Series | Earliest confirmed date yyyy-mm-dd (source) | Produced until... (mostly guesses) | Model type | Notes Lowest-numbered 200A series found so far is a 206A with action parts dated May 26 to June 24, 1974: # 86065. The transformer is dated Mid-July 1974. There are 200's dated as late as Sept 1974, so it is possible this began life as a 200 series. Earliest confirmed 200A is a hybrid (later, non-chronological serial #92xxx) with an action section stamped Jan 24 1974, transformer stamped late July 1974, keys stamped Oct 10 1974. It is likely that these serial number ranges were being used simultaneously. In fact, the 9xxxx numbers may chronologically precede the 86xxx numbers in terms of assembly (unknown). | Reed style | Amp | Vi· bra· to | Colors | Speakers | 200A Series | Serial numbers - earlier reported | Serial numbers - later reported | Quantity produced-- low hunch | Quantity produced-- high hunch | Links |
| 30 | 200A (hybrid/ transitional) | 1974-10-10 (date stamp on keys) | 1975 | Professional Portable | (See next line for general 200A series info.) Following the longtime policy of using up parts from prior models, this is a version of the 200A that has speakers on the amp rail, like a 200, instead of mounted on cover. All known examples have atypical, seemingly non-chronological (higher) serial numbers in range of 9xxxx. (While this should logically place them later in time, date stamps are months earlier than some 8xxxx instruments.) Wood stamps are from Jan to Oct 1974, that span sometimes found in the same instrument, with transformers from July '74. These may make them the earliest 200A's, but we don't really know when or how they were assembled. (Perhaps they were nearly fully-assembled 200's, retrofitted with the 200A amps?). Still looking for any clues as to whether these were the first 200A's assembled. It may be lost information. | 4 | solid state | y | Black (and perhaps Beige). | 2 4" x 8" oval (usually on case top.) | 200A | 92665L, 92963L, 93129L | 98553L, 99460L | http://ep-forum.com/smf/index.php?topic=6290.0 | ||
| 30.1 | 200A (non-hybrid) | 1974-10-15 (schematic for 207VA); 1975-03-27 (earliest confirmed key date stamp) | July 1983? (latest date stamp found is June 27, 1983) | Professional Portable | Visually/physically similar to 200 series, but the amp is completely reworked and improved. Speakers mounted to top, not body--usually. Preamp on reed bar. Reed bar shields covers pickups and reduce hum. Most don't have metal plates on screws of 4th octave up. Late ones have a chrome rear logo. 200A's in the 86xxx range may actually post-date the hybrids in the 9xxxx range by several months; or, both ranges were being used simultaneously, if 200's were retrofitted, renumbered, rebadged with 200A amps. At some point in the run of this series, reeds were reportedly made thicker, changing their sound. It is not yet clear to me whether this was a one-time transition in specs (if so, when?) and official policy, or whether manufacturing was undergoing constant tweaking or changing of thickness tolerances. | 4 | solid state | y | Black, dark green | 2 4" x 8" oval (usually on case top.) | 200A | 86509L | 153020L | http://ep-forum.com/smf/index.php?topic=6290.0 | ||
| 31 | 206A | 1974-10-15 (schematic as above) | Mid-1983 | Console, student | A common classroom model. These were hooked in series to other 206As and to the teachers' model, the 207A (?), 207VA or 205VA. Amp parallels 200A, but is missing both vibrato circuitry and line/aux outs. (Unlike earlier 206, it's not wired-but- unused.) Schematics pair it with "207", too (no "A") ....see below for explanation. | 4 | solid state | n* | Beige (also avocado green?) | 2 8" round (16 ohm) | 206A | 86065L (This is the earliest known "200A" series found so far, with parts dated May to July 1974). | 133114L | http://chicagoelectricpiano.com/a-rare-breed-indeed/wulitzer-student-model-classroom/ | ||
| 32 | 207A (?) | 1974-10-15 (schematic for 207VA) | 1978 | Console, teacher | Existence distinct from 207VA unconfirmed (but very likely). Some schematics pair 207 (no A) with 206As, but it's probably just poor schematic labeling. 207A (or at least this name) may have been introduced later, or...that schematic sloppiness. | 4 | solid state | n* | Beige | 2 8" round (16 ohm) | 207A (?) | http://chicagoelectricpiano.com/a-rare-breed-indeed/wulitzer-student-model-classroom/ | ||||
| 33 | 207VA | 1974-10-15 (schematic for 207VA) | 1978 | Console, teacher | Upgrade of 207A with "Key/Note Visualizer" Model 208 attached/installed. (See item #47.) The visualizer electronics involve a gazillion individual wires under the action, and the visualizer itself is mounted directly onto the console, not easily removed. Are there actually 207A's without this feature ? (probably, because it would be a major additional expense.) 207A disappears from later manual cover & 205VA appears. | 4 | solid state | n* | Beige | 2 8" round (16 ohm) | 207VA | 102403L (Only known serial number) | 102403L (Only known serial number) | http://chicagoelectricpiano.com/a-rare-breed-indeed/wulitzer-student-model-classroom/ https://www.youtube.com/watch?v=HAXdHFZtvhM | ||
| 34 | 210 (210A) | 1975 (earlier? later?) (ebay claim) | 1979 Dec 20 ad, The Age) | Console, home | The 200A-amp series equivalent (more or less) to a 203 -- that is, a non-classroom console. 210A is listed on manual cover, but all in existence seem to be 210, no "A" on the actually serial plate. Neither model name is mentioned in any schematic--mysterious! Several in existence (all?) have "214" scribbled in marker on amp rail inside. 210s appear be 214A's that are slightly modified/simpified for non-classroom use (home, concerts, hotel lounges). Unlike 203W and various 214's, no evidence of version with wheels. In at least one example, there is no Aux Out--it seems they cut corners and simply left off the plate, mounted on the lower front right of a 214A, which contained this and other jacks--though the 214A amp board is used, which has the wiring for a line-level output. 4 speakers as on 214A (below). | 4 | solid state | y | Black | 4 8" round (22.4 ohm) | 210 (210A) | 101783L | 101843L | http://ep-forum.com/smf/index.php?topic=8201.0 https://www.youtube.com/watch?v=7lwnXR68yow | ||
| 35 | 214A | 1974-10-15 (as above) | 1981 (known); 1982 (guess) | Console, classroom | Two sets of 8" speakers mounted on each side (front and back-facing). Wheels. Contains mic amp, aux output. | 4 | solid state | y | Black | 4 8" round | 214A | 137443L | 149247L | http://www.ep-service.nl/joomla/index.php?page=shop.product_details&flypage=shop.flypage&product_id=152&category_id=19&manufacturer_id=0&option=com_virtuemart&Itemid=3 | ||
| 36 | 214VA | 1974-10-15 (as above) ^^^^^^^^^^ | 1978 | Console, classroom | Upgrade of 214A with "Key/Note Visualizer" Model 208 attached/installed. (See item #47.) ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ | 4 | solid state | y | Black | 4 8" round | 214VA | https://www.youtube.com/watch?v=01--HqC05LY | ||||
| ^^^^^^^^^^ | ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ | |||||||||||||||
| 36.1 | Late 1970s | Earliest confirmed date yyyy-mm-dd (source) | Produced until... (mostly guesses) | Model type | Notes | Reed style | Amp | Vi· bra· to | Colors | Speakers | Late 1970s | Serial numbers - earlier reported | Serial numbers - later reported | Quantity produced-- low hunch | Quantity produced-- high hunch | Links |
| 37 | 270 | 1976-08-30 (date stamp on keybed). 1977-04-04 (Print ad, Argus-Press, MI) | 1979-05-10 (Print ad, Bulletin Journal, MO) | "Butterfly" Baby Grand | 1976 date stamp and news reports certainly put it in mid-1970s. Late manual lumps it confusingly with 200 (not "A") series, but its amp has unique part # and certainly resembles 200A amp. "Butterfly" design originally used in 1930s-era mini-pianos. Any reports of 1969 vintage appear to be inaccurate. | 4 | solid state | y | Brown Mahogany | 2 8" round | 270 | 106563L, 112048L | 127246L | |||
| 38 | 205V (205VA?) | 1979-10-19 (Gopher Music Notes ad) | 1981 (guess) | Console, teacher | Version of 207VA wired and buttoned for the later "Key Note Visualizer," the V-500. See item #48 for improvements over the 208 visualizer. I'm surmising the badge read "205V" instead of "205VA", given the known examples of the 210, the 270, and the 215V. Wurlitzer tended not to put "A" designations on newly introduced models (with unique model numbers, that is) in the later 200A series. (See also last 146's with no "B" for first sign of this trend.) | 4 | solid state | n | Beige? | 2 8" round (16 ohm) | 205VA | https://www.youtube.com/watch?v=HAXdHFZtvhM http://chicagoelectricpiano.com/a-rare-breed-indeed/wulitzer-student-model-classroom/ | ||||
| 39 | 215V, (215VA) | 1979 (Gopher Music Notes ad) | 1981 (guess) | Console, classroom | Version of 214A wired and buttoned for the later "Key Note Visualizer," the V-500. See item #48 for improvements over the 208 Visualizer. Only observed example is from May-June 1980, and has no "L" at the end of the serial number. It's called a 215V, so I'm assuming the "A" was seen as redundant and not a part of the badge name. | 4 | solid state | y | Black | 4 8" round | 215V, (215VA) | 145960 (no L) | 145960 (no L) | Alphabeck, Wurlitzer Manual PDF | ||
| 40 | 200B | 1978-9 (guess); Dec 1980 or Jan 1981 (based on only known serial number) | 1981-6-1 (revised schematic) | Portable, no internal power to speakers | Battery powered version of 200A, headphones but no power to internal speakers. Seems to be exceedingly rare. | 4 | solid state | y | Black | Did it have speakers? | 200B | 146768 (only number known so far) | 146768 (only number known so far) | |||
| 40.1 | ||||||||||||||||
| 40.2 | Wurlitzer Germany (Hüllhorst) Series | Earliest confirmed date yyyy-mm-dd (source) | Produced until... (mostly guesses) | Model type | Notes | Reed style | Amp | Vi· bra· to | Colors | Speakers | 200A Series | Serial numbers - earlier reported | Serial numbers - later reported | Quantity produced-- low hunch | Quantity produced-- high hunch | Links |
| 41 | 201 | 1972 or earlier (guess) | Sept 1973 or much later (based on serial numbers). | Professional Portable | A German variation on a 200 with different electronics and slightly different speaker dimensions and brackets. Some examples showing up seem to have extra pots for vibrato speed, and one example has noise gate knobs. These might be aftermarket modules. Are there other European variants on 200-series Wurlitzers? How about versions for Asia or other continents? No evidence seems to exist, but I would appreciate any and all data. | 4 | solid state | y | Black | 2 4" x 9" (or metric, somewhat similar) oval (ohmage unknown), on body | 201 | 1306xxxx (guess) | 131xxxxx, 14850782 (very blurry photo). | |||
| 42 | 300 | Late 1972 (earlier serial number), January 17 1973 (verified date stamp) | 1973 (guess) | Wood Console | A rare console produced only for Europe. Amp looks like a 200 (not 200A). Strange angular "modern" design. Claims of "last model produced" and dating to 1980s, on various websites, are incorrect: Ep-Service.nl has posted a photo of a "January 17, 1973" datestamp). | 4 | solid state | y | Wood | 2 4" x 8" oval + 1 8" round (guess/ photos) | 300 | 13060030, | 13100164, 13100189 | https://www.facebook.com/EpServiceSchagen/photos/pcb.1161802393874602/1161800810541427/ photo, Olivier Grall Ep Forumhttp://ep-forum.com/smf/index.php?topic=3388.0 |
||
| 42.1 | ^^^^^^^^^^ | ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ | ||||||||||||||
| 42.2 | Notable Access- ories | Earliest confirmed date yyyy-mm-dd (source) | Produced until... (mostly guesses) | Model type | Notes | Reed style | Amp | Vi· bra· to | Colors | Speakers | Mys-ter-ies | Serial numbers - earlier reported | Serial numbers - later reported | Quantity produced-- low hunch | Quantity produced-- high hunch | Links |
| 43 | 920 | 1957 | 1960s? | External Amplifier | 18W amp with 3-speed tremolo control. Marketed with 120. Since 120 didn't have tremolo (or "vibrato" as they later called it), this feature may have been a selling point. | n/a | tube | y | tan | 12" Concert Speaker | 920 | |||||
| 44 | 930 | 1962 | Late 1964 | External Amplifier | 93(?) W amp. "Tone Cabinet." | n/a | solid state | y | tan | 3 6" x 9" ovals | 930 | 804558 | 804558 | |||
| 45 | 940; (is there a unique 940B, too?) | 1962 (Introduction of Model 140 EP) | Early 1965? (shortly after debut of 140B). | Battery Pack for model 140. | Mentioned in the original manual for the 140. 140A's (which use the 140 amp) and very early 140B's also have a 7-hole jack for a battery pack, on the phono panel next to the serial plate. (Are the packs for the later 140B amp still called 940's, or are they 940B's?) Not mentioned in the later manual for 140 through 140B electronic pianos, and the plug disappears within the first 2000 serial numbers or less for the 140B. The next battery-powered model is the 200B, much later. 140 owner Tom S remembers the battery pack as having contained four block-shaped lantern batteries. These things are now super-rare, perhaps even extinct. Even photos of a dead specimen would be appreciated. | 940 | ||||||||||
| 46 | 930B | late 1964 | 1968? | External Amplifier | 93(?) W amp. "Tone Cabinet." | n/a | solid state | y | tan | 3 6" x 9" ovals | 930B | |||||
| 47 | 208 | 1973-1-1 | 1978 (guess?) | Key/Note Visualizer | The first version of the "Key/Note Visualizer", attaches to 207V, 214V, 207VA, and 214VA. And once installed... it's not coming off! At least not easily. It's a lit-up sign, on poles, bolted to the console, showing music staffs and piano notes. 42 of the 64 notes can be "visualized"--scale runs from F-9 to C-52. Playing the notes triggers switches under the action. There are 42 individual wires fed under that action; the wiring connects through 4 molex plugs with 12 connections each, all inside the console. A weedy jungle. This is snaking under and around the already byzantine electronics of the teacher module! Apparently this version did not display sharps and flats in the staffs/clefs area. The black keys' notes simply appear further left on the staff. It may be that the teacher was expected to grease-pencil a key signature onto the left screen. We think? Visualizer manual mentions "208V Communication Electronic Piano"; unclear whether this is quickly amended alt name for 207V piano, or name used for combo of 207V + visualizer. | n/a | n/a | n/a | 208 | |||||||
| 48 | V-500 (V500) | 1979-10-19 (Gopher Music Notes ad) | 1981 (guess) | Key/Note Visualizer | The later version of the "Key/Note Visualizer", attaches to 205V(A) and 215V(A). Advantages of the redesign: This one has accidentals (sharp /flat symbols) in the staffs/clefs area! Visualizer can be connected and disconnected from the console by unplugging a cable from a multi-pin jack. It isn't physically mounted onto console (could be hung on a wall, for example). (Coupling/cabling is NOT interchangeable with earlier model.) It appears that Wurlitzer later licensed the rights to the Visualizer to SCI (Service Control Inc) Music Products. Well into the 1990's, they produced a model V9000 Key/Note Visualizer, which was compatible with any later MIDI keyboard. This continued the educational concept forward, in a post-Wurlitzer EP world. | n/a | n/a | n/a | V-500 | |||||||
| 49 | 233A | 1970s | 1983 (guess) | Carry Case (for model 200 Portable) | 233A | |||||||||||
| 49.1 | ^^^^^^^^^^ | ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ |
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Some notes:
- What WAS the Wurlitzer used on Ray Charles’ “What’d I Say”? Everyone likes to think that their 112 or 145 is the one. Sorry, folks. Based on photographic evidence from 1958 and 1959, it’s almost certainly a 120. But if you have a 112, you can still wow people and say it’s the one Sun Ra used on his early singles and albums (““Angels and Demons at Play”, “Super-Sonic Jazz”). If you have a 140 or 145A or some such, heck, it’s probably the vibrato-y instrument you are hearing on the Sonics’ “Strychnine.” I’ll take it, and so should you. More importantly, each of these models had their own distinct sound and feel, with a lot of range and infinite possibilities. Make it your own.
- Vibrato: n* While there is no functioning vibrato in any student or teacher models, they are built into the circuitry of the amps in both the 146/146B and 206-era models, and therefore can be added with some minor electronic work. They are not included in the circuitry of the 206A-era models.
- October 27, 2016 update: I had a Eureka moment today! You can date-confirm your own Wurli! Please do and send me the data. This separate page tells you how.
- Despite this recent epiphany, this table still contains a lot of guesses, especially regarding dates. It has been a challenge to pin down months and years of production runs of Wurlitzer electric pianos, and I invite all data you might have. Often I’ve had to go by the dates printed on schematics (which are sometimes revisions, up to 7 years after a model debuted), or on update “note” sheets (sort of updates to the manuals) released by the company–which only indicate that the model existed by a certain date. The pre-200 1960s models (140-145-720 and later A and B variants, and student models 146 and 726, plus B variants) have been especially hard to pinpoint, datewise, though I am on the verge of nailing that down. Due to my lack of understanding of the company’s manufacturing and distribution system, I also don’t know whether a manufacturing date precedes a model’s debut by weeks or months. Did they stockpile these, and release them all at once for holiday purchase? or did they push them into shops as quickly as possible?
- I’m including columns with some sketchy serial number information, and it is poorly annotated and credited in the chart. Some of this comes from schematics; much of it comes from a very small sampling of keyboards as witnessed by me, or as data shared by compadres, or as recorded in online chat forums, or as seen in online auctions. These should not be taken as “earliest” or “latest” dates, by any means. The columns merely report the earliest and latest numbers I’ve seen, recently, for a given model. These numbers, by the way, do not seem to correspond precisely with the order of production. In periods where several models were produced in parallel, ranges of numbers were reserved for different models. For example, it is possible that 140s started with 25001, while 145’s started at the same time with 30177. A 140B of serial #29808 is from around 1965-6, and therefore post-dates a 1962 145 in the early 30000’s.
- This table currently lists about 42 Wurlitzer electric piano models, including a mid-60’s teacher model of which I’ve only seen one unverified report (the 147 and/or 147B) and another (the 727 or 727B) of which I am only surmising would have to exist, though not a single report or reference exists. However, the official model numbers only tell part of the story. Wurlitzer was constantly revising and improving its designs, and there are countless additional variations within many “official” model numbers. When possible, the factories would use up stock of prior parts on new models, so the official model name change doesn’t always reflect the model’s eventual most distinct features. Amplifiers were revised repeatedly, and so a 140B, or a 200, or a 200A, might contain different amp specs or designs features at any number of points in its production. (For example, one expert tells me that the 200 had 5 different amps over its 7 years of production; I have not verified this, though the manual shows two variants.) An early or late 120 will reportedly have different action and amp features; early 140B’s might differ from later ones in their damper arms, reed screws, knob positions, and capacity for an optional battery pack. And so on.
- I assert that the 200 (pre-A) series was produced until September 1974. The 200A series did not begin production until late 1974, at the earliest, and debut instruments may not have been completely assembled or distributed until the start of 1975 (awaiting evidence either way). Most online accounts have the switch happening at 1972. This is simply inaccurate information that keeps being repeated. In fact, any 1974-dated instruments in the 200A-series might be 200 series instruments with replaced electronics (I am calling these “hybrids”). The earliest dated schematic I can find is from October 1974, and that’s only for the wiring of the new teacher-student modules. At the other end, the 200A was in production on or after June 27, 1983, though that was clearly the tail end of things. If you have a 200A series Wurli prior to serial #86065 or later than #153020, or in the 9xxxx range, I’d be especially interested in all date stamps on its keys and treble action rail.
- Once we are in the 200A era, there exist classroom-model keyboards labeled “Musitronic” which look exactly like Wurlitzers, and carry the same model numbers (though different, 7-digit serial number systems). These were licensed by the Wurlitzer company, and badges say they were manufactured by Wurlitzer, too. Experts report that, while visually nearly identical, these seem to have been manufactured under different conditions, have slightly different parts (softer hammer felts, different grommets, different amp components, etc.), and are therefore different in feel and sound. I have worked on these, and having no other nearby Wurlitzer EP with which to compare it, I must say they seemed undistinguishable. The other possibility is that Musitronic took over the business as Wurlitzer was getting out of it, and that their keyboards were assembled in the 1980’s from the remaining parts. This is unexplored territory, and perhaps the new understanding of date-stamping will help shed light on this shortly.
Musitronic also sold other music keyboards, “Music Learning Modules,” which were NOT electric pianos, but some sort of electric organ. These are not addressed in the above chart. - Wurlitzer’s literature has some odd revisionist history. The 140A-145A-720A-145B, the 146B-147-726B, and the 210/210A, for example, seem to be erased from most of the Wurlitzer literature, manuals, parts catalogs, and schematics, peeking out, at best, only in the graphics of manual covers or in certain update notes. They most certainly do exist, though–I’ve confirmed all of these, except for the possibly mythical 147 and only-theorized 727 “teacher’s models.” This chart is very much a work in progress, and I welcome all additional data.
- My initial impulse in creating this chart was to pinpoint some reed replacement data, detailed here. A memo from 1971 spells it all out. There were four basic reed periods in Wurlitzer Electric Pianos (I’m calling these “styles”), and the reeds are not universally interchangeable between these styles. Though, what makes things confusing…some are, for the first three styles. (That said, reports also indicate that, within these “styles,” there are changes over time, perhaps every couple of years. So, while a 1965-era 140B can use reeds intended for a 1975-era 200A, and vice versa, the instruments’ original reeds may have had different tonal qualities, due to different thicknesses, metal, manufacturing process, etc.)
- Entries made on chat forums, on Wikipedia, or electronic piano sites, are sometimes contradicted by Wurlitzer’s published data or my individual experience. On the other hand, those who have opened these instruments up will have access to individual production stamp dates that I have not seen. So this chart is a mixture of information, misinformation, interpolations and best guesses from all these sources. Any challenges to attributed claims are not intended as a slam on anyone, but just hopes at confirmation. It’s a dizzying amount of data; models were often revised mid-run with poor documentation, and we are all, at times, dealing with Frankensteined instruments without knowing it. Some website entries and articles seem to be written in a quick, top-of-the-head manner, and do not necessarily reflect the depth of repair skill of those who make them.
REED Compatibility “STYLES”
I have moved this information to its own page, here.
List and notes copyright 2014 to 2018 by Steve Espinola. Please do not republish or repost this list in this form without attribution. Some of its contents are derivative (and attributed to their sources by links), and obviously I make no claims to such contents. It took me many full days of work, over years, to research, edit and organize all this information into this page. It involved hundreds of creative and editorial choices. I’m very happy to share; just do me the courtesy of being in touch and crediting my research and organizational efforts, much as I have credited others in my links.
Especially useful in beginning this list, and frequently cited throughout, was Chris Carroll’s essay about the history of Wurlitzer Electronic Piano models which appeared on the Vintage Vibe website, but now appears to have been removed. Also helpful was this blog post on their site about reed history, though it contains some serious typos and errors as of November 2017.
Special thanks to Fred DiLeone (Fred’s email here), the Electric Piano Forum, the Sound and Circuit site, The Yahoo Wurlitzer Electric Piano List, Tim Warneck of Retrolinear, Ken Rich Sound Services, Janice of Morelock’s Organ Parts, Olivier Grall’s Wurlitzer page, and the Chicago Electric Piano Company blog, all of which I used as resources in developing this list. I hope, in return, it can function as a useful quick reference to all of them and others.
I had organ called the piper made by Wurlitzer purchased about around 1975 can’t remember sold organ with house Now 92 want to try and play again it was easy play and got to play some good sounds i. Any around anymore
I know little to nothing about Wurlitzer organs. Just the electric pianos. Sorry!
Have a Wurlitzer 145B Serial NBR 33434 was in the attic for many years.
When you turn it on the speaker is vary noisy is this worth restoring
Yes, it certainly is worth restoring. Please call me at 347-374-0428 and let’s talk. –Steve
I just bought a Wurlitzer upright piano with the serial number 378526 on the back and inside plate but I cant find that on any piano listing sites. Does anyone know what year this piano was built and how much it is worth?
If it’s a standard upright piano, and not an electric/electronic piano, that’s beyond the realm of what I deal with here. According to this page:
http://www.total-piano-care.com/wurlitzer-pianos.html
It would probably be from about halfway between 1946 and 1950.
I have a Wurlitzer EP388, I can find absolutely nothing on it, can someone help me learn something about its origins, year made and value??????
Sorry, I saw this late. I am assuming this is an electric organ or digital piano.
The 210 model was most definitely made before 1975. I know this because my mother owned one and she got it in 1971.
This is interesting, but it doesn’t match any data of mine. Are you sure it wasn’t a 203, 203W, or 214? They look very similar. Does she still have it? We could check the date stamps, and I would love to.
Bought a Wurlitzer 200A student electric piano at the thrift store for ten bucks,.. only thing that was wrong was a bunch of coins stuck between the keys jamming them.. works great..
Lucky man!!
My Wurlitzer was purchased in 1970 or 71
It needs to be repaired and totally gone over.I losses the ac. cord I haven’t played it for years I live in Nass. County and could drop it off. I want to find out if it can be repaired.I would need an estimate on repairs to determine if it is worth fixing.My name is Nick
Always best to call me! Messages left on this page get lost in the shuffle. I am so very happy to help if I can. 347-374-0428.
I have a 140B #51014. Great sound and in great condition!
That is BY FAR the latest serial number I have seen on a 140B. I want pix and all sorts of date stamps, pronto.
Trying to figure out how to value a Model 112 that according to the date on the inside is 1957. Has all the parts including floor pedal and plug. Has all the legs and is stable. Works but some keys stick.
Please send serial number!
Hi,
I just picked up a Wurlitzer Model 200, SN 82911 L (Logan Utah?). Internally stamped in green ink on back of action: 40325302 “A-60-5” (including the quotation marks). According to your dating idea, this may be from 1974, March 25 (so later than the last number you listed above for a model 200). Definitely a Model 200 with speakers on the chassis and the Model 200 amp.
This one has been played a good bit (based on some looseness in the action) but the body seems almost too clean to be original. Amp looks original. So let me know if there are any pics or details you’d like.
I own a 145A that could not be in better original playing condition internally. I will post serial number and any date stamps when I get home. The only issue is the ground buzz, that no matter what methods we (the pros I take it to for servicing at custom vintage keyboards here in los angeles) attempt at permanently reducing it to a level that is acceptable for studio recording, just cant quite get it eliminated enough. I understand that theres going to be a buzz on this particular model especially no matter what we do, but any ideas or input on how to most tame this notorious thorn in my side would be greatly appreciated!
oh and did complete updated modify on power supply/cable and speaker out to 1/4 inch line.
Serial number 31845
See any date stamp on the keys? Where are you located?
ill open her up when i get home from work and check! and im in southern california, pasadena specifically.
heres a few random pics: https://postimg.org/gallery/2n2g4rmmy/
I have a 200B. It has no speakers and no tremolo. Instead of the tremolo knob it has a headphone volume knob.
Fantastic. What is the serial number? Any date stamps inside it?
What was the Wurly that had 4 student models built into one cabinet facing each other. Very bizarre.
I think you are thinking of a Musitronic Learning System MKS-470, which wasn’t actually manufactured by Wurlitzer, though it is often falsely described as a bunch of Wurlitzer electric pianos. Those are 6 organs or synths in one body, with a hinge in the middle. There is, however, an early 1970s Wurlitzer system with a set of 8 44-key pianos that are linked together. This is the 106P. Similar look, but less bizarre.
I’m looking for a power cable for a Wurlitzer 700. The two prong type. Do you have one?
Thanks!
I do not. There is certainly a demand for them. They are a standard appliance cable of that era. You may have luck calling a guitar amp store.
Eventually you will want that two prong output upgraded to a three prong. Safer.
Does anyone know how many 111’s were made. I have one in very good shape. No broken parts. Only needs the F2 and F4 reed. Can’t find much.
Not many were made at all. The lowest serial number I know is 1298. The highest is 1503. And there are even some 112’s with lower serial numbers, though most of those seem to start in the 5000’s.
I’m going to guess that there may have been as few as 1500 instruments ever made of 110’s and 111’s, combined. They are super rare.
This data is subject to change, if suddenly some show up with serial numbers in the 4000’s, or something. There seems to be a big serial number gap.
I have a 1926 Wulritzer serial number#——-in fair condition. What’s it worth? Any reason that I should hold on to it. No one plays it now but it still sounds great!
I think you must be talking about a standard Wurlitzer piano, or perhaps a Wurlitzer Electric Player Piano (which would have used paper rolls with songs programmed into them). This page is only about the electro-acoustic instruments, usually 64-notes, that Wurlitzer produced from 1954 to 1983.
You should hold onto yours if it brings you joy!
I just acquired a Wurlitzer 112 ser # 1331. when powered up it has a loud hum and nothing else. It is in relatively good condition with the original power cord/ pedal etc. Not a keyboard player myself so I will be passing it along at some point. Would like to know more about it. Any info or input would be greatly appreciated. Monte
Great chatting by phone! Sounds like you have a great piece there. Someone in NC will be very happy.
Hi
I found your site (love it) when I resumed my search for a cord for my
1958 Wurlitzer Electric Piano I started my search in 2013,
with no success. I have owned it since 1990 hope you can help
it is model # 120 brown with petal and it is metal on top
serial # (w? may me a stain )(the numbers are clear 6955), 115 volts, 60 watt, 0.6 amp
cyc 60, (Corinth Mississippi) is on the tag on the rear panel
Hi Terri,
The cables on those old Wurlies are pretty standard appliance cables from that era. I do not have a reliable source for them, but you may be able to find a modern substitute online.
For safety’s sake, however, it’s usually a good idea to get an amp tech to rewire those old amps to 3-prong, and to take out a rather dangerous capacitor they tended to wire in near the power source. (not my area of expertise, but any shop that repairs guitar tube amps will know how to do it).
I can direct you to a good tech to do this work.
Hello,
great website! I will use this as a guide in my searches!
I have a 146B and didn’t see it on your list.
It is a solid state. I can take pictures if need be. I am not sure if it has the tremolo circuity or not but I plan on converting it to 140B specs one day soon.
cinnamonrolli! Nice to see you here! I’m sorry, your comment was buried, til now, in miles of spam.
That information is extremely helpful. Thank you! I’m always happy to receive pictures. From what I’ve read, the circuitry is probably there, just not hooked up.
I am unclear on whether there was ever a 146 (no B), or whether they introduced these teaching modules around the times of the “B’s”. The official Wurlitzer literature is EXTREMELY vague or downright sloppy in differentiating the various early 60s models. The 140A/145A/145B/720A models are only EVER mentioned in notes about reed compatibility–the appropriate manual “disappears” them. Likewise, that note #17 makes no mention of a 146B, or the teacher model 147.
Good information. Does anyone have any idea of how many of each model were produced over the years? They have a pretty good handle on the numbers of old Gibson and Fender guitars, the numbers of Wurly’s would be interesting.
Thanks,
Bill
Someone may know, but I don’t. Do the serial numbers give us an accurate count? I have no idea. It would be interesting to know how many still survive. I think tons of them were tossed. It’s still happening, too. I hear horror stories.
I’m continuing to pursue this question. It’s a really good one. I get the feeling that, from around 1957 through 1967, they were producing around 3000 electric pianos a year, and these were divided, roughly, between whichever models were being produced in a given year. I’m basing this on serial numbers, and a rough idea of when certain individual instruments were made. I don’t know whether production increased dramatically, starting with the 200 series, in 1968. I’m guessing it did, but I have not analyzed the data.