04. 112 (1955-6) Wurlitzer Electronic Piano
For the next duration, I will be uploading documentation on every model of Wurlitzer Electric Piano ever produced, chronologically. Approximately 1 page per model, 5 instruments per week, around 40 instruments total. And then the accessories.
This will take a several weeks, as each page is a photo essay… and an essay. In the meantime, if the instrument you are curious about isn’t here, I refer you to my complete list, on which these blog entries are based: Here.
The Wurlitzer Electronic Piano Model 112. Wood and Brooks Action. The Wurlitzer Electronic Piano Model 112 is the first of these instruments produced in greater quantity. The serial number range is a bit over 5200. Given that their amps also have serial numbers, which seem to be in the same range, I think the total produced might be 2600 or a couple hundred more.
112’s, and the 2 earlier variants, the Models 110 and 111, are a challenge (some would say 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 than any models from the mid-late 1960s on. As with all 1950’s-era models, this should be a consideration before investing in one. Even if you buy one cheap, you should expect to invest either years of your own time in learning how to get them to function, or several days worth ($$$) of detailed servicing from an experienced tech. We are talking about both the physical/mechanical/tone-producing components, and the tube amp electronics. Many vintage keyboard tech outfits simply won’t touch them.
Of course, they can be fantastic once they have been serviced. They will never have the feel of a post-1962 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. All three of these earliest models have a very strong bark when played hard, and a very pretty, trebly, delicate sound when played quietly. Because of the resonance of the wood top and the unique design of the “style 1” reeds, these models have a significantly different sound than the Model 120 of the following 5 years.
It is unclear precisely when this model debuted. My working theory is that it appeared in stores a mere few months after the 110 and 111, in later 1955. There are newspaper and magazine ads by December that depict a wooden-legged Wurlitzer EP. There are 112’s with 1955 production stamps inside. However, as there are wooden-legged 111’s, and as many 112’s contained leftover 111 assemblies, I can’t yet say with certainty that any 112’s appeared in stores before 1956.
Given the feature/design inconsistencies throughout the short run of the 112, and the seemingly constant using up of older parts, the one defining and consistent difference between this particular model and all known examples of prior model 111 is the amp. The 111 will always have a 110 amp. But the 112 will either have a newly designed 112 amp…. or, later on, an amp called a “112-A.” As the next, radically redesigned model of Wurlitzer is called the 112A, that’s a bit confusing. The differences between these two amps are unclear to me, because I’ve never personally seen the earlier amp. Aerially, they look the same. It is likely that slightly later, in 1956, the 112 and 112A EPs were being produced at the same time, and what they both used was either a revised amp design… or they simply renamed the amp.
Common to the 112 and 112A amps: If you compare the amp control panel to that on the 111 amp (same as the 110), you will see that this one has an additional control knob for a record-player input, and outputs for headphones, speakers, AND line-level (aux). This line-level (unamplified) output will then disappear from future models (regrettably) until the 200 series in 1968.
The 112’s side-mounted damper 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. (Note as well the bakelite side-handle in this profile-view photo. Very rare! This may be because the handles were poorly designed, fragile, and most of them have broken off or crumbled away. Or…maybe it was only put on a few later instruments. If your 112 still has these handles….don’t use them. Always move your 112 with the help of a friend.)
But again…. not on all. The example below, as with some 111’s, has sustain mass added at random spots on the reed bar. Which may mean this is a leftover 110 or early 111 reedbar. (An early example of the company’s hybridization tendency.)
There are no dampers on those 8 notes. The damperless notes will increase to 11 from 1957 to 1963 (for all models in the style 2 and style 3 reed series), then reduce to 5 for the rest of the run of Wurlies.
Wooden legs attach to the instrument in all known examples; this is also true of some, but not all, 111’s. They fit neatly into the lid for transport.
Reed screws on the 110, 111 and 112 are not interchangeable with post-1956 reed screws. Different gauge, different design. Washers are separate from screw, and their positioning will impact the tuning, especially if reed tip is facing (incorrectly) upwards. I will talk more about the reedbars of these early models on the 112A page.
(Disclaimer, and attempt to do right: I have worked extensively on 112’s and several of these images are mine. However, for the sake of creating a helpful collection of rare instruments examples, I have also taken images from various eBay auctions, because they are superior photos of beautiful instruments. I’ve lost track of their sources. One in particular is the prettiest-looking and best-photographed 112 I have seen. If any of these are your images, please contact me either for crediting or, if you are irked, for removal. Thank you.)
If your interest is primarily in this specific model of Wurlitzer, I nonetheless encourage you to read my posts on the models 110, 111 and 112A. There is a lot of ground to cover, and I go into more detail about design features shared by ALL of these instruments on those pages.