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 repair Wurlitzer Electric Pianos in the greater New York City area. I makes house calls, for an additional fee. Click here for details.
Testimonals from satisfied customers
The list is followed by some important notes about Reed Eras (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, the amp-rail speakered 200A’s) might be seen as hybrids designed to use up parts before a major transition goes into effect–or, they are, in effect, short-run prototypes, quickly revised after the first instruments hit the market. In other cases, (the earliest 140B’s come to mind) it appears possible that nearly-assembled instruments from the prior model run had the newest updates 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.
Update 12/10/2022: Thanks to some official Wurlitzer company documents discovered and rescued by my comrades at Tropical Fish, I will soon be undergoing a major revision of the data on this page. Some serial number ranges have been clarified, and this has changed my understanding of some of the production runs of the instruments. You can see some of this revised production data on the updated blog entries for the 1950’s Wurlitzer EP models.
Hint: Select 10 entries per page in dropdown for ease in navigating; or more for overview. The table is wide, and has some inadvertently hidden columns that you will see if you select text and drag to the right.
If you find this page useful, please support my research with a contribution. Clicking the golden “Thanks” button below will bring you to a PayPal page, where you can pick an amount you’d like to give.
| # | 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 Era | 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 |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| 0 | 1950s | 1950s: | |||||||||||||
| 1 | 100 | 1954 | 1954 | Portable | Extremely rare, if it existed at all. Perhaps a prototype or the model placed in test markets. Not mentioned in generally available Wurlitzer literature--not even in the "reed compatibility" memos. Photo of a prototype 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. We have proof of prototypes that look different from known Model 110's. But I have yet to see proof that an instrument with the model number "100" actually existed. | 1 (?) | tube | n | Brown pebble-textured finish (guess) | 1 6" x 9" oval | 100 | ||||
| 2 | 110 | 1954-12 (Fred DiLeone) | 1955 | Portable | Wood & Brooks Action. This model is 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 most 111's and some 112'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 | 1084 | 1164, 1247 | 200 | 260 (likely), 1200 (highly unlikely) |
| 3 | 111 | 1955-03 [Fred DiLeone] | 1955 | Portable | Wood & Brooks Action. 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] 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. Since amps were numbered, and these numbers may be part of the same serial run, getting a count on the quantity of these produced is difficult. The gap between the earliest and latest known existing 111's is a mere 206 numbers. The gap between the last prior model (110) and the first of the next model (112) is currently 467 numbers. Not many were made. Earlier, I wrote: " 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." I'd like to re-confirm this; I now wonder if any 111's left the factory with a reed bar sustain brick. | 1 | tube | n | Brown pebble-textured finish | 1 6" x 9" oval | 111 | 1176 (overlaps with 110 numbers), 1298 | 1377 (May 11 1955), 1439 (May 25, 1955) 1503 (March 55, no sustain brick) | 206 | 450 |
| 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, and this appears to be true. A heavy lead brick, bolted over top 8 reed screws for improved sustain, is not shown in manual, but exists on instruments by January 1956 (serial #4963), and seemingly not much earlier. 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-112A reed screws (from Model 120 on). 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. Evidence suggests that production of 112 and 112A overlapped in 1956. Later 112's include the "112-A" amp, which may or may not be a simple rebadging. Serial range spans 6132 numbers. I think actual number of instruments produced is in the 2300 to 3000 range, due to half of the numbers being taken by the internal amps, as well as the later model 112A. | 1 | tube | n | Sandstone beige (lighter than 111) | 1 6" x 9" oval | 112 | 1631, 2583. (Earlier report of 1331 is probably a reading error of a damaged badge.) | 5472 6198, 6609 (Mar 23, 1956), 7763 (!! Later than all known 112A numbers.) | 2350 | 3000 (may be high) |
| 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 (seemingly) and 7000 (confirmed) ranges. It begs the question: Were these models being produced at the same time? (probably, yes.) And why the "P" designation at the end of some/all serial numbers? For "Pratt Read"? The serial range of this instrument is small. I think a mere 500 instruments were produced, 750 tops. | 1 | tube | n | Sandstone beige | 1 6" x 9" oval | 112A | 6227? (Reported by an ebay seller, could be amp), 7006P (confirmed) | 7200P, 7483P | 500 (more data needed) | 750 (optimistic. More data needed.) |
| 6 | 120 | Very late 1956? (manual copyright 1956-12-10); 1957-01-16 (seen on masking tape on reed bar in serial #10036; 1957-05-21 (Wurlitzer note #9) | 1961 | 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 let-off of 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 is 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. I now estimate that some 7000 instruments of combined Model 120 and 700 were produced, over 5 years. That would be some 1400 instruments per year, and some 116 instruments were produced per month on average. Maybe, if we really stretch things, it was 7500 instruments. Based purely on serial number range, one might surmise that some 15000 instruments were produced, between late 1956 and 1961. However: The number is probably less than half that: The internal amps were numbered, and it appears they were part of the same sequence. And Model 920 Tone Cabinets (and perhaps other peripherals) were in the serial sequence as well. They are (or were, depending on how many survive) the most common of the 1950's models. 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 very likely). Dating the production and sales debut of these is extremely difficult. Speakers have a 3-digit YMM stamp that gives relative data, and masking tape at the back of the reed-bar usually includes a scribbled inspection date. Dates may be on the underside of one of the top keys, and any original tubes should be checked for dates, as well. Ads first show up in May 1957, as does first servicing "note;" this may be an indication of public debut. Speakers that were commissioned for them run as early as June 1956. Earliest reported serial number is 7716P, but no photo evidence of the badge has me slightly suspicious. 8046 and 8056 are confirmed. There may be no instruments with numbers existing between 23001 and 25001. | 2 | tube | n | Three 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. 3) Black. Exceedingly rare, early. 2 or 3 known surviving examples, one from original owner, awaiting confirmation. 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 | 7716P (self-reported by seller, no photo); 8012 (official starting range); 8046, 8056 (Zolotone w yellow lid), 8553 (Brown Mahogany), 8999 (fake-birch veneer [orig?] w beige lid ) | 20527, 22728 (Zolotone, Rorshach stand) | 7000 (combined 120 and 700) | 7500 (combined 120 and 700) |
| 7 | 700 | October 1957? (production); 1958-06-16 (Life Mag ad: "Steve Allen Plays the Fun Piano") | 1961 | Console, wooden, w/ soft pedal | Pratt-Read Action. Attractive wood "furniture" console version of 120. Soft pedals in this and the later various 720-series wooden console models are electronic, on/off, not mechanical. Damper pedal connection mechanism is a cumbersome, heavy wood-lever design. In all of the later 720 series consoles, this was replaced with one or another variation of the cable-release system used in the portables. Some music stands have curved "Saloon" look seen on later 120s. Others, usually on blonde-finished examples, have boxy, rectangular look, like a sideways door. Volume/on-off knob is above keys on early instruments, later moves to left cheek block. 12" speaker gives a great bass response. See 120 entry for production information. | 2 | tube | n | Wood, various furniture stains (brown mahogany, but also lighter/blonder wood stains) | 1 12" round | 700 | 12501-16054 (official first allotment); 17101-18699 (official second allotment); 17352 (currently-known earliest instrument) | 21175-22176 (official 3rd allotment); 22494 (currently known latest instrument) | 7000 (combined 120 and 700) | 7500 (combined 120 and 700) |
| 7.1 | ^^^^^^^^^^ | ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ | ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ | ||||||||||||
| 7.2 | Pre-200 1960s | Earliest confirmed date yyyy-mm-dd (source) | Produced until... (mostly guesses) | Model type | Notes | Reed Era | 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 |
| 8 | 140 | 1962. July, or September, or October? First known ad is Nov. 3, 1962, New Yorker, so maybe they appeared in stores then. Action Schematic is April 1, The amp schematic is July 10, and wood-part date stamps of the 149th 140 read May and July. But the speaker is from September. | 1963, Late January | 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). Reeds above #20 have upward-facing tips for the first time. Thicker pickups in middle register than will be seen in "A" series and beyond. 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). The combination of the 120-style reeds, lighter-mass body, and reedbar still being tweaked, seemingly resulted in a slightly quirky sound, tending towards a shorter decay in middle register (fixed in last instruments). This is most likely 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 (from the exterior) if serial number badge is missing. The 720 and 720A also look externally identical. 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) | 26205 | 1205 | 1240 |
| 9 | 145 | Release could be Nov. 1962, as above. Or, as early as July 1962, as above. | 1963, Late January | 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 | 30001 (hunch), 30031 (1962-7-10 issue 2 amp schematic), 30177 (1965-04-15 issue 3 amp schematic), 30453 (known) | 30856 (note 15, 1963-01-21 circuit modification) | 856 | 954 |
| 10 | 720 | Release could be Nov. 1962, as above. Or, as early as July 1962, as above. | 1963, Late January | Console, wooden, w/ soft pedal | Console/furniture counterpart to 145 (uses same tube amp, has similar reed bar and other innards); however, it is different in a crucial way: Keystick is two inches longer (15"), an inch more on either side of the balance pin; and there is a weight embedded in each key at "far" end; this affects the feel, making it very pleasant and especially piano-like. (Is this difference true in prior model 700?) Both knob controls on cheek block. On/off jewel light near pedals (also on 720A). Electronic soft pedal. Music stand is a far more delicate evolution of the "saloon" look. | 3 | tube | y | Brown Mahogany | 1 12" round (4 ohm) | 720 | 40001 (145 amp schematic issue 2, 1962-07-10), 40095 (known), 40221 (known) | 40401 (by Jan 1963) | 401 | 478 |
| 11 | 140A | 1963, Either Late Jan.... or Late July. Comparing an 140 and 140A separated by 35 serial numbers shows end-of-January dates in both action and amp parts. The confusing factor is high-wattage resistors in the latter amp from July--but in virtually every amp of this era, these resistors are replaced, so we may be looking at a repair--or not. "Note 15", a memo on 145 tube amps, is from Jan 21, as well, and seems to coincide with the "A" period tube instruments. Was there a 6 month gap in instrument completion? I doubt it. Late Jan more likely. | 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 for many (not all), 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; these basic reed specs are unchanged henceforth through 1983 (with alleged minor differences in thickness, metal composition). Does hammer action assembly change, beyond nicer sculpting of edges? (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 (slight changes, though; read on). Five mysterious 4th-octave reed screw plates, seemingly for taming overtones (or for leaving exactly 12 notes of strong sustain harmonics at highest treble) debut here and are retained into the 1970's models. Only top five notes lack damper arms, going forward (changed from 11 in prior models). In many cases --not earliest instruments, maybe not latest-- 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). Unless they were already recalled and fixed, any obviously bad 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 the model 140. The amp is still called a "140" amp, but there are a few revisions to the capacitors and resistors, undocumented in the one schematic from the prior year. It appears the changes debuted right at "A", leading me to suspect they were tweaking EQ to match the new reeds. | 4 | solid state | y | Sandstone beige | 1 6" x 9" oval (4 ohm) | 140A | 26240 | 27375 | 926 | 1451 |
| 12 | 145A | 1963, Either Late Jan.... or Late July. See note in 140A. | 1964, March-April (production); August, or beyond. (distribution). (See 140A) | Portable | Tube amp version of 140A, with reed changes/improvements, added treble damper arms, and potential reed screw problems as above. Amp is still called "145" (no A), but a January 21 1963 memo on a circuit changes seems to coincide closely with the start of the "A" line. 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 (4 ohm) | 145A | 30955 | 32084 | 1130 | 1396 |
| 13 | 720A | 1963, Either Late Jan.... or Late July. See note in 140A. | 1965, October/November (last component date October 7, 1965) | Console, wooden, w/ soft pedal | Two models in one model number/name, depending on vintage. Earlier ones are the furniture console counterpart to 145A; later of these instruments, to the 145B. The final console model with a tube amp ("145"), with a larger speaker than its solid-state successor (the 720B). Exterior and keybed are like the earlier (no "A") 720: Controls on cheek block, jewel light at pedals, longer keysticks (though, eventually, no longer with weights except for top "C" and maybe bottom "A"). Electronic soft pedal. Earlier ones parallel 140A/145A positive reed changes, gradual minor action revisions, and new reed screw problems, above. (I have never actually seen a console with the reed screw problems, but the company note warns of it.) Later ones are console 145B's: This model remained in production for at least 9 months after the 140A and 145A were replaced with the "B"s, eventually phased out out of production in the same period as the 145B (~October- 1965). Later (1965) examples have no reed screw problems, and sometimes have the improved short-damper-arm action found in the B's, but have the same larger speaker and tube amp found in earlier examples. This is an underrated instrument. They tend to be in fantastic shape because they stayed put; they have that huge speaker (great bass, fine treble) and a beautifully balanced action with atypically long keys. The culmination of the "furniture" models, with no compromises for space. If the tube amp isn't fried, the reed screws are fixed, (even better if the damper arms are short), and you don't intend to gig with it, you have a stunning keyboard there. | 4 | tube | y | Brown Mahogany | 1 12" round (4 ohm) | 720A (see subdivisions below) | 40466 | 41747 | 965 or 1281 (need more data) | 1810 (need more data) |
| 13.1 | 720A, series 1 ("A" era) | 1963, Either Late Jan.... or Late July. See note in 140A. | Late 1964 | Console, wooden, w/ soft pedal | See above. The version of the instrument that ran in parallel production to the 140A and 145A. Instruments from November 1963 on potentially had a problem with cracking reed screw washers. | 4 | tube | y | Brown Mahogany | 1 12" round (4 ohm) | 720A (series 1, "A" era) | 40466 | 41105 | 627 (need more data) | 1400(need more data) |
| 13.2 | 720A, series 2 ("B" era) | Late 1964 ^^^^^^^^^^ | 1965, October/November (last component date October 7, 1965) | Console, wooden, w/ soft pedal | See above. Confusingly, the 720A continued through the first year of production of the 140B and 145B. This version had the improved "B" reed screws, and shortened damper arms which made tuning easier. ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ | 4 | tube | y | Brown Mahogany | 1 12" round (4 ohm) | 720A (series 2, "B" era) | 41421 | 41747 | 350 (need more data) | 642 to 950 (need more data) |
| 14 | 140B | First sold sometime after August 17, 1964, and by December 1964. "Reed compatibility" note #17 of August 17, 1964 doesn't mention the B line. Early instruments contain leftover "A" parts, so early 1964 date stamps found in some instruments are misleading. ALL components should be checked for dates in early instruments; especially electrical, as the amp/speakers were the initial defining change. | Circa September 1968, based on speaker in last known serial number. Action rail date in this late instrument is February 22, 1968. There is overlap in component date stamps for late 140 "B"-era instruments and 200's, but for the most part they were tooling up for the new series in 1968. (last circuitboard schematic updated 1974-03-01 -- Curiously late! typo for 1964?) | Portable | Some aficionados consider the "B" era of the 140 series to be the pinnacle of Wurlitzer design and care in manufacture. The later refinements of the classic 200/A series make for lighter, more attractive, more portable and roadworthy instruments; but arguably, those can come with subtle compromises in feel and tone that you won't find here, in a well-maintained instrument. (Electronics will continue to be refined.) Physical differences between these and the prior "140A" instruments are minor; but those subtle improvements make all the difference. (That "A" series, however, can be retrofitted with most of these improvements.) Knob controls on cheek block (vs. lid front) of portables, are only on B series--makes easy to identify, and is a defining change. * 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 silicon ["silicone" a misprint?] and germanium transistor "140B" amplifier of the solid state models, quite distinct from germanium transistor 140/140A amp. To be clear: This is a different amp. The June 1966 amp schematic is a revision; B series were being manufactured by mid 1964 (although earliest examples are probably "A" model "hybrids" retrofitted with new electronics), and no more than 250 were in stores by December '64. 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. *(B-series instruments exist with A-style long damper arms and, for the first 300 or fewer, knob locations, too. Maybe even those bad cracking reed screws, according to one source. #27895 (and early 145B's including #32253) have long damper arms but cheek-block knob location.) There are at least two editions of the 140B amp. #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"). Later amps have a volume trim pot (which, if I remember correctly, controls the LDR bulb). A schematic for the earlier amp exists (with a mysterious 1974 date). Component numbering of caps and resistors is completely different on the later 140B schematic, and manuals failed to update these numbers in the description text and "PC Board" diagram. Confusing! | 4 | solid state | y | Sandstone beige | 1 6" x 9" oval (8 ohm) | 140B | 27501 (Earliest?) 27603 (known instrument), 27768 (Dec 30, 1964) 29091 (June 1966 schematic, revised amp, parts are now 11-xxxx instead of earlier 65xxxx). Numbers jump from 30000 to somewhere shortly before 33626, after 145B is discontinued. | 38598 (its speaker is stamped Sept 1, 1968, and action rail is Feb 22, 1968.) | 6500 (most likely round number); 6340 (Conservative minumum.) | 9029 (probably far too high, but accounts for every known gap.) |
| 14.1 | 140B (teacher version?) | 1966 | 1967? | Portable | Occasional instruments badged 140B's have shown up with the classroom monitoring/switching cheek block seen on 146B/146 instruments (see below); But these lack the large instrument-linking plugs found on 146/B's. My current theory is that these are a version of the teacher's 140B's, which were hooked into the Electronic Communication Center, Model 830; although this is not what is described in the manual for this classroom system. (See entries #17 and #47.) | 4 | solid state | y | Sandstone beige | 1 6" x 9" oval (8 ohm) | 140B (teacher version?) | 34421 | 34612 (not a range of uninterrupted instruments like this) | too little data to calculate | too little data to calculate |
| 15 | 145B | First sold sometime after August 17, 1964, but by December 1964. See note in 140B. | 1965, December 1 (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). These were phased out long before the 140B's--Around December 1965, which means the 140B's continued for an additional 2 strong years (and a minimal 3rd year). It appears they produced these and the 720A's until the 145 tube amps ran out, as both models stopped production at the same time. Unclear whether gradual changes throughout 145 amps correspond to model names; I'm now saying yes, in the case of the "A" series, and less sure about the "B" series. 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 name disappeared from Wurly lit except for reed memo. Does this imply minimal changes? Doesn't quite make sense. Based on anecdotal 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, although post-maintenance, they can play beautifully. Speaker is still 4 ohm--perhaps a consideration if swapping out tube amp for a 140B amp or a modern replacement, both of which expect 8 ohms. (this is true of all "A" and pre-"A" instruments in this series, too, of course.) "Made in small numbers til 1972-4", says Sound and Circuit site, but existing evidence is entirely to the contrary. | 4 | tube | y | Sandstone beige | 1 6" x 9" oval (4 ohm) | 145B | 32253 (Skip Freese), 32339 (seen on Ebay, Oct 2015) | 33448 (December 1, 1965). Later 140B's continue shortly after this number. | 1195 | 1545 |
| 16 | 720B | Oct-Dec 1965 (interpolation); March 20, 1966 (known instrument) ^^^^^^^^^^ | 1967 (guess based on interpolation). | Console, wooden, w/ soft pedal | Console counterpart to 140B with the same redesigned amp. Unlike tube 720 and 720A, this is a solid state amp console (the first); like them, they have beautifully balanced longer keysticks than the portables. Electronic soft pedal. Speaker is much smaller than in 720A; same 6" x 9" size as in a 140B. While this might seem like a missed opportunity, cabinet resonance seems to allow speaker to produce good bass anyway. On/off jewel light is moved from pedal area to cheek block, above knobs, with nearby 1/4" headphone jack. When assembled, these are the clearest way to distinguish from 720 or 720A. All 720 series instruments are uncommon, but the 720B's truly don't turn up very often, and data is scant. Evidence suggests they debuted only after the 720A was phased out, so no earlier than Oct-Dec 1965 (later than the other B's in this series); but earliest known are from March 1966. As with the 140B's of this era, the craftsmanship is impeccable. The solder tips of the reeds are perfectly symmetrical pyramids, and the resulting tone is stunning. In a decently-maintained instrument, you can't do better. See also 726(B) classroom console (below) ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ | 4 | solid state | y | Brown Mahogany | 1 6" x 9" oval (8 ohm) [yes, smaller than 720(A) speaker.] | 720B | 42097 | 42702 | 350 (Due to large gap in known numbers) | 750 (could be a bit higher; would welcome more data) |
| 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 back 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. The latest "B" instrument I have found is a 140B with speakers dated September 1968--and serial numbers would imply that this was a straggler, with very few made throughout 1968. (adverts imply 146-style classroom systems were being sold in 1968, though). No real-world 145B's dated later than September 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 starts at 48001, 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.) | ||||||||||
| 16.3 | Pre-200 Music Lab Models | Earliest confirmed date yyyy-mm-dd (source) | Produced until... (mostly guesses) | Model type | Notes | Reed Era | 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 |
| 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". This solid-state student model is designed/wired to be connected/ monitored in series of 4 groups of up to 6 pianos each, for a total of 24 student instruments. It worked with an "Electronic Communication Center Model 830." Unlike the post 1968-version, it is not yet confirmed that there was a distinct teacher piano. (See 147B.) It seems to have 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 (8 ohm) | 146B | 35197 | 35629; 46215 (This is a 140B plate with the "0" overprinted into a "6"), and is more likely at the start of the "B"-less range) | 1000 ("nice round number" minimum, quite possible, for the instruments with a "B"); 427 (conservative) | 1452 (probably too high, but in the realm of possibility.) |
| 17.1 | 146 (see also 146B, above) | 1967-10-16 or earlier for non-B variant (date stamps, note #20). | Early-Mid 1968 (likely guess, based on advertising.) Last known component date stamp is Jan 18, 1968. | Portable, Student | This seems to be the same model as the 146B, rebranded a few months later. See explanation, above. Did serial number start at 46001? A hunch. | 4 | solid state | n* | Sandstone beige | 1 6" x 9" oval (8 ohm) | 146 | 46001 (hunch), 46215 (This is a 140B plate with the "0" overprinted into a "6"), and is more likely at the start of the "B"-less range), 46360 (known) | 46874 | 874 (decent guess--specifically for this second series) | 1000 (possible) |
| 17.2 | 147(B)? [reported online at a Yahoo Wurlitzer users group, seemingly a myth] | n/a | n/a | Portable, Teacher | Almost certainly mythical. Alleged teacher version of 146, reported online only in a Yahoo Wurlitzer group, witnessed at a concert. Is not mentioned in any known Wurlitzer memos or manuals. I've concluded after much research that this is almost certainly a confused memory or false second-hand report (though I assume no malice). A video at Getty images, "Electronic music lab", shows the early setup. Unlike the later 206/207 system with a control panel integrated into the latter's lid, the teacher uses an "Electronic Communication Center," (model 830), a switching panel that serves the same purpose of communicating with 4x6 student pianos (the 146[B] portable or 726[B] console). The manual, obtained from Morelock's, describes that the teacher simply uses a standard 140B or 720B. It would be foolish to conclude anything 100% based on the "official" literature. I've seen plenty of strange labelings of instruments, and it's still conceivable that someone witnessed an odd prototype (or relabeled 140B) called a "147." There ARE rare 140B's with the classroom cheekblock with switches, but lacking the large linking plugs. See entries #14.1, #47 | 4 | solid state? | n* | Sandstone beige (guess) | 1 6" x 9" oval (8 ohm) [mythically presumed] | 147, (147B?) | ||||
| 18 | 726B, 726 (no B) | late 1965 or 1966 (guess) | 1967-11-07 (known 726B) or mid-1968 (see 146) | Wood Console, student, soft pedal (assumption) | Wooden console. 726 listed in the 1971 reed "note #17", but the few currently known examples are 726Bs. They would be the same model, with "B" presumably dropped in later instruments, as in 146(B) This is the classroom version of the 720B, and like that model, has a solid state amp and longer keysticks. Has pilot light on cheek block (not pedal area) as in that model. Originally had no vibrato pot, but two switches labeled "Speaker/Headphone" and "Ensemble/Self." Headphone is wired into cheek block. Vibrato circuit is in the amp and can be modded through rewiring to be activated. Note #20 seems to indicate that model 726(B) has the same "student" functionality and wiring as the 146(B). 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. Quality/craftsmanship is likely to be comparable to 720A and 720B (in other words, very high). | 4 | solid state | n* | Brown Mahogany | 1 6" x 9" oval (8 ohm) [Presumed] | 726 (no B?), 726B, (727?) | 45001 or 45501 (hunches at starting number based on known examples) 45586 (badge missing, serial number scribbled on instrument, plausible) | 45755; 45767 (these are confirmed 726B's) | ||
| 18.1 | 727(B) [interpolation based on seemingly mythical 147; unreported. UPDATE: does not exist] | n/a | n/a | Wood Console, teacher, soft pedal (assumption) | See 147 and 726. For now, this is a model, placed here for search engine purposes in the unlikely event that one shows up. One person has reported the 147. This one was merely theorized by me. | ||||||||||
| 18.4 | 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 Era | Amp | Vi· bra· to | Colors | Speakers | 200 series | Serial numbers - earlier reported [48159 for 200 series, a model 200.] | Serial numbers - later reported [85491L for 200 series, a model 200; 87733, a 106 set.] | Quantity produced-- low hunch | Quantity produced-- high hunch |
| 19 | 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 conceptual continuation of the last 140B series revisions, except that capstan screw is moved from far end of key to whip above key, and action design saves space, horizontally and vertically (shorter keysticks, changed balance point, moved interface with whippen.) 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" (both the "bass" design) happens between mid and late 1970. Amp design undergoes at least 4 editions (w different schematics), more likely 5, through 1974. Rarer 1st ones, 1968-Oct 1969, have legs with secondary supports, attached with slots/flanges instead of screws; faceplate labels are atypically *below* knobs; different design to metal music stand; grille patterns with gaps in middle (thanks Mark Cimarolli!). Craftmanship of 1968 instruments is as impeccable as in 140B era, with similarly symmetrical solder tips on reeds. Amps, on the other hand, are usually a disaster by now. Beige, Red, Forest Green are seemingly phased out in most portables by 1973. The latter 2 are especially attractive and collectable. (Beige is retained for student-teacher classroom consoles). | 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 (1968-70 are fake stereo) | 200 | 48001 (according to 1968 schematic); 48159 (known instrument) | 85655L (Sept 1974) | ||
| 20 | 203 | 1968-09-01 (schematic) | October 1971 (if replaced by model 203W, which seems likely from real-world experience.) or mid-1973 (hinted in schematics). | Console, home | Home console version of 200, body similar to 206 and 207. Early version has two 4x8 speakers on amp rail, and two 8" below; By June 1, 1971 schematic (or even later 1970?), reconfigured with lower two pairs of 8" speakers, one facing back (for audience) and one facing forward (no upper speakers.) No Pull-out tray nor storage area. Was this discontinued and replaced when 203W was released? On evidence of known instruments, it appears so, around November 1971; but serial numbers and schematics in manual (p 28, 48) suggest both models co-existed earlier and later. | 4 | solid state | y | Black, and possibly Forest Green [Source, Chris Carrol, Vintage Vibe] | 2 4" x 8" oval + 2 8" rnd (1968-70) or 4 8" rnd (1971-4) | 203 | 48451 (according to 1968 schematic); 55217 (known instrument) | 60672 (Oct 1972) | ||
| 21 | 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. [In other words, two small ones in on the amp rail.] 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) (1968-70) or 2 8" round (16 or 11 ohm) (1971-4) | 206 | 48601 (according to 1968 schematic); 48708 (known instrument) | 85367L | ||
| 22 | 207 (200 series, pre-"A" era) | 1968-09-01 (schematic) | Mid-Late 1974 (for versions with a 200 -style amp--see item 31) | 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. Has a complex control panel of monitoring switches inserted into the plastic lid, which sometimes looks manually cut to accommodate it. All schematics say these have 1 speaker. Does it have 2 by 1974? Earlier ones have 6 x 9 speaker, perhaps using up a leftover stock of 140B era speakers. The complex designation in the "name" column denotes that they kept calling calling the teacher's module the "207" into at least the early 200A era, in spite of the change to the later amp. | 4 | solid state | n* | Beige | 1 6" x 9" oval (1968-70) or 1 8" rnd (1971-3) or, by 1974, 2 8" rnd (all 8 ohm) | 207 | 49151 (listed in 1968 schematic) | 84135 | ||
| 23 | 106 (set), 106P (indiv) | 1971-06-01 (Schematic, in standalone manual) | October 1976 or later | Classrooom set, "Mobile Music Learning Center" P = "Pupil" | A rare 44-note classroom model, which only worked in a group, originally. 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. Instruments did not have sustain mechanism--instruments including this have been modded. In fact, all standalones in collections have been modded, to function singly. Bridged "200" and 200A" era. | 4 | solid state | n | "Nastrium" (that must be "Nasturtium"? Orange), "Sugar Maple" (Tan) [Source, Chris Carrol, Vintage Vibe] | 1 4" x 8" oval | 106 (set), 106P (indiv) | 762; 1770 (<-106P's) 60001 (according to schematic. These seem to correspond to sets.) | 87733; 97668; 97791 (No "L"s in these numbers.) | ||
| 24 | 214 | 1971-06-01 (schematic) | Mid-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. Apparently this was only available in Avocado Green. (This color is also found in most or all 1976 200A's.) Schematics don't seem to indicate vibrato; yet I believe all do have it. | 4 | solid state | y | Avocado green | 4 8" round | 214 | 67845 | 80240 | ||
| 25 | 203W | 1971-10-26 (known instrument, same month as last known 203), 1971-06-01 (schematic), 1970 (serial number, p.28 of manual, would place it far earlier if accurate.) | Late 1974 (guess), late 1973 (known instruments) | Console, home | Variation of 203. The "W" is apparently for "wheels." Is that the only difference from a late-inning 203? Did it replace 203 (probably) or did they exist side by side? (Serial numbers suggest brief overlap in 1971). Serial number in manual may place it earlier, in Mid-1970, at same time speaker setup was revised in 203: 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, no tape in/out and phono in. | 4 | solid state | y | Black | 4 8" round | 203W | 60838 (Oct 26 1972), 71210 | 75893L (Sept 1973) | ||
| 26 | 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. Unlike earlier 207's, these had two speakers. | 4 | solid state | n* | Beige | 2 8" round (8 ohm) | 207V (208V?) | 70362 (No L) [Only known serial number] | 70362 (No L) [Only known serial number] | ||
| 27 | 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.) It is possible this was only available in Avocado Green. Awaiting confirmation. ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ | 4 | solid state | y | Avocado green | 4 8" round | 214V | 84144L (only known number, no "V" but has visualizer.) | 84144L (only known number, no "V" but has visualizer.) | ||
| 27.2 | 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 Era | Amp | Vi· bra· to | Colors | Speakers | 200A Series | Serial numbers - earlier reported [86065L for series, a 206A] | Serial numbers - later reported [153020L for series, a 200A] | Quantity produced-- low hunch | Quantity produced-- high hunch |
| 28 | 200A (hybrid/ transitional) | 1974-07-21 (First batch of new transformers); 1974, Sept or October (latest dates in 1st European instruments are late August); Oct 1974 ("pre-A" 200 amps are used up). | circa April 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. Most known examples have atypical, non-chronological (higher) serial numbers in known range of 91xxx-93xxx, then 99xxx (USA) and 98xxx (Europe, 220Volt). (86001L-86666L numbers seem to bookend the 9xxxxL run of rail-mount 200A's.) All evidence suggests the earliest instruments were assembled from parts dating no later than August 1974 (European instruments in 98XXX) range), and from "latest parts" of October 1974 for USA instruments. This run continued until sometime in early 1975 (known March, possible April instruments). Instruments sometimes use up "pre-A" 200 series parts dated as early as January 1974, mixed with parts from 9 months later; so it is important to check as many date stamps as possible to assess the most likely approximate date of a given instrument. As with some early non-hybrid 200A's, the hum shields are cut for the prior amp's heat sinks, and may fit poorly. Some do not have aluminum-tubed transformer wires (as with 200 series). Around May 1975, production switched to instruments with speakers in lids, and numbering picked up in the prior 86XXX range. | 4 | solid state | y | Black (and perhaps Beige). | 2 4" x 8" oval (usually on case top.) | 200A | 86001L (guess), 86023L (known instrument), 91825L (known instrument, 117V), 98553 (known instrument, 220V) | 86665L(last known in "86xxxL range), 93159L(known instrument, 117V), 97523L (known instrument, 220V) 99692L (known instrument, 117V) | ||
| 28.1 | 200A (non-hybrid) | 1974-10-15 (schematic for 207VA); 1975-05-11 (speakers in early 86XXX instruments) | 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; much more powerful (louder); smaller footprint. Preamp on reed bar. Reed bar shields covers pickups and reduce hum. Speakers mounted to top, not body, after initial 9 months or so. (See "hybrid" entry above). Most don't have metal plates on reed screws of 4th octave up. Late ones (starting early 1979) have a chrome rear-lid logo. Starting in mid-1978, keybed has new part number (K-60-6), and damper spring is much smaller. Around this time, bass pickups are bent upwards, diagonally, continuing forward in time. Portable 200A's starting from the late 866xx range, apparently debut AFTER the run of the amp-rail speaker 200A instruments in the 9xxxx range; so, a good 6 or 7 months after the first "hybrid" instruments: Around May 1975. 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. Avocado Green-colored 200A's, same color as the early 70's 214's, appear to be rare-ish now. But it appears that for a time in 1976, debuting at the start of the second edition of the amp, a great many 200A's were this lighter green color. (throughout, in the serial number range of 1035xx-108xxx). The amps in these instruments are usually black. The latest date I have found in a 200A is June 27, 1983. I'm presuming the last Wurlitzer Electric Piano was assembled around July 1983. | 4 | solid state | y | Black, Avocado green | 2 4" x 8" oval (usually on case top.) | 200A | 86691L | 153052L | ||
| 29 | 206A | 1974-10-15 (schematic as above) | Mid-1982 to Mid-1983 (guess) | 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. Wurlitzer licensed additional production or distribution of the classroom modules to Musictronic, who were still producing them in April 1982, and perhaps beyond. | 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 | ||
| 30 | 207A, and/or "207" with 200A amp. (see line 22.) | 1974-10-15 (schematic for 207VA) | Mid-1982 to Mid-1983 (guess) | Console, teacher | Some schematics pair instruments called "207" (no A) with 206As. I know of a 1976 teacher's module, with a 200A-series amp, that is labeled "207" with no "A". It is unclear whether they ever chose to add the "A" designation to any "V"-less teacher modules, and whether this would have indicated any difference in the interface with the student module circuitry. Wurlitzer licensed production or distribution of the classroom modules to Musictronic, who were still producing them in April 1982, and perhaps beyond. | 4 | solid state | n* | Beige | 2 8" round (16 ohm) | 207A (?) | 102335L (labeled "207" but contains "A" series amp) | 102335L (only known number, circa 1976) | ||
| 31 | 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 | 84205 (no "L"-- anomalous, perhaps wrong) 97464L; | 128019L | ||
| 32 | 210 (210A) --[overall span] | By May 1975 (1974 possible) | February 1976 (last known date on instrument); later 1976 (known serial range); 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.--but this time on a budget. 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! All known examples have "214" scribbled in marker on amp rail inside. 210's appear be 214A's that are modified/simpified for non-classroom use (home, concerts, hotel lounges). Unlike 203W and various 214's, no evidence of version with wheels. 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. The 214A circuit board is used (203721), but a few components needed for the Aux circuit are missing, as is a jumper from 9 to 15. There is a slot for a 206A-style pull-out shelf, but no shelf. It may be that this model was only made in 1975 through some part of 1976. Range is spotty; perhaps a few hundred were produced. In later 1976, the 270 "butterfly" baby grand was introduced; apparently that replaced the 210. | 4 | solid state | y | Black | 4 8" round (22.4 ohm) | 210 (210A) | 91587L (only known example or number in that range, May 1975.); 101782L to 101917L. | 102817L; 103832L; 106855L (Scattered later numbers, one anomalously high) | ||
| 32.1 | 210 (210A) --late variant | (see above) | (see above) | Console, home | See above. Some later examples of the 210 have only TWO 8 ohm speakers, facing away from player, and a plastic, grille-less lower front panel. Base has extra reinforcing internal horizontal panel and vertical brace. | 4 | solid state | y | Black | 2 8" round (8 ohm) | 210 (210A) | 102817L (confirmed variant) | |||
| 33 | 214A | March 1977 (beginning of known instruments); or 1974-10-15 (theorized, as above, but perhaps wrong) | 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. A beautiful console; when in good shape, the best non-portable of the 200A series (in my opinion). Unlike the 210, has additional input and output jacks, and a slide-out desk. | 4 | solid state | y | Black (usual), Avocado Green (anomalous, perhaps at debut) | 4 8" round | 214A | 91374L (2 1977 Avocado Green instruments in this range), 112577L (Black) | 149247L (Black) | ||
| 34 | 214VA | 1974-10-15 (theorized, as above, but perhaps too early.) ^^^^^^^^^^ | 1978 | Console, classroom | Upgrade of 214A with "Key/Note Visualizer" Model 208 attached/installed. (See item #47.) Phased out for the 215V circa 1978-9 ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ | 4 | solid state | y | Avocado Green, perhaps Black | 4 8" round | 214VA | 97345L (Avocado Green) | 128083L (color unknown) | ||
| 34.1 | Late 1970s | Earliest confirmed date yyyy-mm-dd (source) | Produced until... (mostly guesses) | Model type | Notes | Reed Era | Amp | Vi· bra· to | Colors | Speakers | Late 1970s | Serial numbers - earlier reported | Serial numbers - later reported | Quantity produced-- low hunch | Quantity produced-- high hunch |
| 35 | 270 | 1976-08-30 (date stamp on keybed). 1977-04-04 (Print ad, Argus-Press, MI) | Late 1978 (last known serial number); 1979-05-10 (Print ad, Bulletin Journal, MO) | "Butterfly" Baby Grand | Seemingly debuted in later 1976 (August on). Late manual lumps it confusingly with 200 (not "A") series, but its amp has unique part # (204765) and certainly resembles 200A amp. "Butterfly" design originally used in 1930s-era mini-pianos. Any reports of 1969 vintage are inaccurate. The largest horizontal footprint of ANY Wurlitzer electric piano, (with the possible exception of the 1971 Boeing/ American Airlines 747 instruments). It's a piece of attractive furniture, weighing 160lbs, with a depth of 37.5" (vs the standard 18.5") --in other words, about a meter. Its appeal is merely aesthetic: There is no functional reason for its size, as it is not accommodating the bass strings you would find in a baby grand. The back end holds a pair of 8" speakers which would fit in any vertical console cabinet--although these have been fitted with cardboard tubes which may affect resonance, or projection to the "butterfly wings." | 4 | solid state | y | Brown Mahogany | 2 8" round | 270 | 106563L, 112048L | 129463L | ||
| 36 | 205V (205VA?) | 1979-10-19 (Gopher Music Notes ad) | 1981 (guess. Known instrument from May 1981 or later.) | 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. The badge read "205V" instead of "205VA" (as with 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.) So rare, at present, that only two examples have shown up so far, in all the years I have maintained this list. The range of serial numbers and surrounding gaps implies an allotment of between 3 and 36 Wurlitzer-branded instruments (with the likelihood of more Musitronic instruments). In all likelihood, the numbers are higher, but the instruments are landfilled. They are the highest allotted serial numbers I have seen on a Wurlitzer-branded electric piano (though not necessarily the latest instruments). Teacher's consoles were produced in smaller numbers than student consoles, and classroom instruments in general have been thrown-out more than "civilian" models. | 4 | solid state | n | Beige? | 2 8" round (16 ohm) | 205VA | 153106 (no L) | 153112 (no L). These are the highest known numbers on any non-Musitronic Wurlitzers | 112 (a lowball based on three known instruments.) | 150 to 500? This is a total guess based on scarcity. How many went to landfills? |
| 37 | 215V, (215VA) | 1979 (Gopher Music Notes ad); May 1981 (speaker on known instrument). | May 1981 (speaker on known instrument); 1983 (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. Like 200B, no "L" in the serial numbers, which may mean they weren't produced in the Logan, Utah plant. Earliest observed example has speakers from May-June 1981. It's called a 215V, so I'm assuming the "A" was seen as redundant and not a part of the badge name. The range of serial numbers and surrounding gaps implies an allotment of between 17 and 50 Wurlitzer-branded instruments (with the likelihood of more Musitronic instruments). | 4 | solid state | y | Black | 4 8" round | 215V, (215VA) | 145960 (no L) | 153056 (no L); 153072 (no L). | ||
| 38 | 200B | 1980-07-01 (Key stamp of earliest known instrument so far.) | 1981-6-1 (revised schematic. Latest known instrument has a date of sometime in 1981 on action back.) | Portable, no internal power to speakers | What was the last Wurlitzer Electric Piano introduced? Probably the 200B (though the 205V and 215V are contenders). Battery-powered version of 200A, headphones but no power to internal speakers. Seems to be exceedingly rare--I know of 8 instruments in circulation, over a range of 301 serial numbers. Probably produced in small numbers from late 1980 to 1983. Like 215V, no "L" in the serial numbers, which may mean they weren't produced in the Logan, Utah plant. (but who knows?). Tragically to my historical way of thinking, almost every known example has been converted to a conventional 200A. | 4 | solid state | y | Black | no speakers. | 200B | 146628 (no L) | 146928 (no L) | 301 (range of known instruments) | 1600 (a highball based on number gaps. More likely 350 to 500.) |
| 38.1 | ^^^^^^^^^^ | ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ | |||||||||||||
| 38.2 | Wurlitzer Germany (Hüllhorst) Series | Earliest confirmed date yyyy-mm-dd (source) | Produced until... (mostly guesses) | Model type | Notes | Reed Era | Amp | Vi· bra· to | Colors | Speakers | 200A Series | Serial numbers - earlier reported | Serial numbers - later reported | Quantity produced-- low hunch | Quantity produced-- high hunch |
| 39 | 201 | 1972 (guess) | Late 1974 or 1975 (interpolation from one known Model 300 date stamp) | Professional Portable | Produced by Deutsche Wurlitzer, G.m.b.H., of Hüllhorst (Westf) [North Rhine-Westphalia]. 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, or not. All known examples of 201's and 300's have serial number with "0" as the 5th digit. This leads me to believe that the 0 functions as a dash. The number of produced instruments is therefore probably 1/10 of what one might otherwise conclude. I still only have data on one 201 with a complete serial number. See Model 300, the other known European-produced Wurlitzer EP. | 4 | solid state | y | Black | 2 4" x 9" (or metric, somewhat similar) oval (ohmage unknown), on body | 201 | 131xxxxx (secretive emailer) | 14850782 | ||
| 40 | 300 | Late 1972 (earlier serial number), January 17 1973 (verified date stamp) | Late 1974, or more likely 1975 (interpolation based on one known date stamp and later serial numbers) | Wood Console | Produced by Deutsche Wurlitzer, G.m.b.H., of Hüllhorst (Westf) [North Rhine-Westphalia]. A rare console produced only for Europe. Amp resembles a 200 (not 200A), with no board preamp. Strange angular "modern" design. Claims of "last model produced" and dating to 1980s, on various websites, are incorrect. All known date stamps are from 1973-4, and we can interpolate that production probably went at least partway into 1975. Dates should be drawn from keys, action and electronics, as keybeds were seemingly produced en masse, earlier. It appears that the amp board went through at least two iterations. Later ones (by Sept 1974 and on) have a slicker, printed look. All known examples have serial number with "0" as the 5th digit. This leads me to believe that the 0 functions as a dash. The number of produced instruments is therefore probably 1/10 of what one might otherwise conclude, with a known numerical range of 4160 or so. See Model 201, the other known European-produced Wurlitzer EP. | 4 | solid state | y | Wood | 2 4" x 8" oval + 1 8" round (guess/ photos) | 300 | 13060030, | 13100164, 13100189 | ||
| 40.1 | ^^^^^^^^^^ | ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ | |||||||||||||
| 40.2 | Notable Access- ories | Earliest confirmed date yyyy-mm-dd (source) | Produced until... (mostly guesses) | Model type | Notes | Reed Era | 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 |
| 41 | 820 | 1956 (December)--copyrighted entry for manual | unknown | Multi-piano monitor system for 112, 112A and 120 | This boxy interface allows connection between several 112's, 112A's or 120's. It is an embryonic version of the 1960's model 830 "Electronic Communication Center" teacher-student monitoring concept, which would be marketed as the "Wurlitzer Music Laboratory" by 1965-6. Unlike the later system, this does not seem to require modifications to the electric pianos--existing models are already compatible. Thanks to Mark Cimarolli for bringing this to my attention. | ||||||||||
| 42 | 920 | 1956 (December) --copyrighted entry for manual | 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 | ||||
| 43 | 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 | ||
| 44 | 940; (is there a unique 940B, too?) | Sept 5, 1962 (schematic) | 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. A schematic shows them containing 6 large 6 volt lantern batteries. These things are now super-rare, perhaps even extinct. Even photos of a dead specimen would be appreciated. | 940 | |||||||||
| 45 | 930B | late 1964 | 1968? | External Amplifier | 93(?) W amp. "Tone Cabinet." | n/a | solid state | y | tan | 3 6" x 9" ovals | 930B | ||||
| 46 | 830 | late 1964? Prototypes in 1962. (See also model 820) | 1968 | Electronic Communication Center (for "Wurlitzer Music Laboratory") | "Permits up to 24 students to receive class instruction at the same time... each with his own piano. The teacher can listen and transmit instructions from one player or any group of six." --found in "Owners Manual" brochure, circa 1965. Preceded by the even more obscure 820 in 1956. (see above). Unclear if any "classroom" module was commercially available in 1962-4. | n/a | n/a | n/a | n/a | 830 | |||||
| 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 | 977 (only known number) | 977 (only known number) | ||||
| 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 models V7000 and V9000 Key/Note Visualizers, which were 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 | Oddities | Earliest confirmed date yyyy-mm-dd (source) | Produced until... (mostly guesses) | Model type | Notes | Reed Era | 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 |
| 50 | 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 | ||
| 51 | x-236 (Doctored prototype 214) | 1971 | 1973 | Console, "classroom", prototype | Console with wheels. It's debatable whether this belongs on this list, as it is was not mass-produced. This is a one-of-a-kind prototype seen in 1971 footage of the Carpenters playing on the BBC. It had been lent to the musicians by the Wurlitzer company. In the footage it has 3 knobs in the middle of the faceplate; later it was revamped with two knobs. Internally, it has a proto-pickup shield, similar to what is found on the 200A series. It contains TWO amps and transformers, which send extra power and volume to a combination of 8 ohm and 16 ohm speakers. It is likely this instrument was initially in stereo, each reedbar/amp combo routed to half of the speakers. It also contains some strange experimental shielding brackets supporting the reedbars, more under the bass reedbar, and heavy welded piping to shield the transformer wires. A very cool instrument. What other prototypes still exist? | 4 | solid state | y | Avocado green | 4 8" round, two 8 ohm and two 16 ohm | x-236 | 589xx | 589xx | ||
| 51.1 | ^^^^^^^^^^ | ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ | |||||||||||||
| # | Model | Earliest confirmed date (source) | Produced until... (mostly guesses) | Model type | Notes | Reed Era | Amp | Vi· bra· to | Colors | Speakers | Model | Serial numbers - earlier reported | Serial numbers - later reported | Quantity produced-- low hunch | Quantity produced-- high hunch |
If you find this chart useful, please support my research with a contribution. Clicking the golden “Thanks” button below will bring you to a PayPal page, where you can pick an amount you’d like to give.
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 more-or-less the one Sun Ra used on his early singles and albums (He used a 110, nearly the same thing, on “Angels and Demons at Play” and “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 pre-A 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 few guesses, especially regarding production dates and numbers produced of the earliest and last models. It has generally been a challenge to pin down months and years of production runs of Wurlitzer electric pianos, and I invite all data you might have. Initially, I 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. Due to my lack of understanding of the company’s manufacturing and distribution system, I’m not always sure 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 sometimes solid, sometimes sketchy serial number information. Some of this comes from schematics; much of it comes from data shared by comrades and readers of this page, 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 or had reported, 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. The highest serial numbers are for the 200B, 205(V) and 215(V) … But lower-numbered 200A’s may have been produced later.
- This table currently lists about 42 Wurlitzer electric piano models, including reference to mid-60’s teacher models of which I’ve only seen one very unlikely report (the 147 and/or 147B, and by logical extension, the 727/B). 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; the manual shows 4 variants.) An early or late 120 will reportedly have different action and amp features; early 140B’s will 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, including Wikipedia, had the switch happening at 1972, until this page debuted. This was simply inaccurate information that kept being repeated. 200A’s dated from late 1974 to early 1975 still have holdover features from the 200’s, including amp-rail mounted speakers, and action parts dating from the 200 run (I am calling these “hybrids”). The earliest dated schematic I can find for the 200A series 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 late 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 146/B-726/B, 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, sometimes in great numbers. 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 “eras”), and the reeds are not universally interchangeable between these eras. Though, what makes things confusing…some are, for the first three eras. (That said, reports also indicate that, within these “eras,” there are changes over time, perhaps every couple of years. So, while a 1965 140B can use reeds intended for a 1975 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 “ERAS”
I have moved this information to its own page, here.
List and notes copyright 2014 to 2024 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.
Wurlitzer EP models discussed in this chart (listed here for search purposes): Wurlitzer Electronic Piano 100 (possibly mythical), 110, 111, 112, 112A, 120, 700, 140, 145, 720, 140A, 145A, 720A, 140B, 145B, 146B, 146, 147B (mythical), 147 (mythical), 726B, 726, 727B (mythical), 727 (mythical), 200, 203, 203W, 206, 207, 207V, 214, 214V, 106, 106P, 201, 300, 200A, 210, 210A, 206A, 207A, 207VA, 214A, 214VA, 270, 205, 205V, 205VA, 215, 215V, 215VA, 200B. Accessories: 820, 830, 920, 930, 930B, 940, 940B, 208, v500, v-500, 233A, Boeing/ American Airlines 747 Coach Lounge Piano, x-236 (Doctored prototype 214).
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.
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.
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.
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.
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!
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.
EDIT, January 9, 2022: I would revise this number down now quite a bit. I think if there were 600 instruments combined in the 110 and 111 models, that would be on the high side. There may be no instruments with a serial number lower than 1001.
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.
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 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?
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/
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.
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!
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.
EDIT: We determined that this was in fact a date stamp inside the piano, for October 14, 1965. See this page for an explanation of Wurlitzer date stamps:
https://docwurly.com/wurlitzer-ep-history/the-date-of-your-wurlitzer-electric-piano/
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. Voicemail: 347-619-2464.
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!!
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.
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.
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.
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 347-619-2464 (leave voicemail) and let’s talk. –Steve
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!
I have a 145A that has not been played for decades. I purchased around 1980 and gigged about ten years.
The time is right for restoration (by me). I find info on the 145B but not much on the 145A. Also, I don’t believe the amplification section is tube. Is this possible? I believe it was recapped in the late 80’s, but I have not verified this yet.
Looking for a felt kit and rubber grommets for the damper arms. Vintage Vibe the best source?
Maybe I should send the amp section out for professional work. I appreciate any advice.
If you are interested I can send serial # information to help with your project. Where are the date stamps found on the keys?
Thx–Tim
I think my email never reached you, so I’m writing you here in case you self-google. 🙂
If your 145A has a solid state amp, the original tube amp was switched out. This is quite possible; the instrument will function fine with a restored 140 or 140B amp. If you want to have the amp section repaired or replaced, you should call me and discuss options: 347-619-2464. I’m opinionated on amps, but there’s more than one way to go.
Get clear, in any event, whether you have a 140-era “A” series or an earlier “non-A” model. If your instrument has 11 damper-free notes at the top, it needs the 1950-style 120 reeds from notes #21 to the top, and some unique bass reeds. If it has only 5 damper-free notes, it’s an “A” series or later, and it uses reeds compatible with the 200 series. I write this adamantly because there is a LOT of confusion about this out there!
The 3 instruments in the 1960’s “A” series were barely mentioned in any official Wurlitzer literature, even though a good 3000 instruments were produced. I am working up a series of blog posts that will talk about those and the other earlier 1960’s models. Suffice it to say, they are seriously underrated instruments, especially compared to the “B” series. The 720A console was even produced a year into the production of the “B” portable line, and is one of my very favorite models.
Vintage Vibe are a fine and painless way to get replacement parts for your Wurlitzer (the felts and grommets you mentioned). There may be cheaper ways to get the same parts, but they will require legwork and trial and error. In my experience, it is probably worth it to save yourself the time and just buy them from VV. Retrolinear in Pennsylvania, and both Ken Rich Sound Services and Custom Vintage Keyboards in Los Angeles are also good sources for various parts that you may need to replace. I reply on all of them, as I am not a parts shop.