Many have requested a version of my Wurlitzer Model List page with wider formatting. This is my attempt at creating that page. Testing, testing.
| # | 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) |
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| 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) |
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| 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 |
