What do you need your Wurly to do?
There are a lot of differences between the various models of Wurlitzer. They all sound great, but some models are better than others for different applications. The fact that every Wurlitzer is pretty old introduces another variable: condition. Some Wurlitzers are capable of doing things in an abstract sense, but their condition makes it difficult to achieve that in practice.
Before you think about buying a Wurlitzer, or restoring a Wurlitzer you already have, it helps to spend a little bit of time thinking about what you want out of your Wurlitzer keyboard.
I just want to play Wurlitzer for fun—I don't need it to do anything special
This is a reasonable goal, but first we need to figure out what "fun" means. Some people have fun pressure-washing their driveway.
For instance, ask yourself: to have a good experience playing a Wurlitzer electronic piano, which of the following has to be true?
The Wurlitzer makes sound, especially when you press a key
When you press a key, the Wurlitzer makes the sounds that you vaguely expect it to make, most of the time
When you press a key, the Wurlitzer is perfectly touch-responsive, perfectly in pitch, and sounds 100% clean, true and authentic through every conceivable output
Most people are somewhere between 2 and 3. Some days, we're a 1. (Honestly, we're just happy they exist.)
But if you're a solid 3, that's also totally fine. You don't need to be a working musician to want that kind of thing. It is possible to have professional standards and expectations for your instrument even if you never record or perform for an audience. Professional-level audio gear is cheaper and cheaper every year, and a lot of consumer-grade equipment is made to a very high standard. If your baseline is your Nord, you may require a lot of performance from your Wurlitzer just to have fun playing casually.
It's definitely not unreasonable or self-indulgent to want qualities like touch-responsiveness and precise intonation from a Wurlitzer. Wurlitzers are completely capable of both of those things and more. The problem is that Wurlitzer keyboards are aging, and you will likely have to put some work into them if you want them to play to a certain standard. If you don't reflect on what qualities you're really looking for, you may end up with an expensive keyboard that is "fun" for someone else, but not necessarily you.
In the rest of the article, we've grouped Wurlitzers by some common scenarios.
The keyboard has to make a cool sound
On one hand, every Wurlitzer makes a cool sound. But, if we were to group electronic pianos by their sound quality, one way to do it is to group Wurlitzer models into three generations based on the style of reeds that were used.
The tone generator of a Wurlitzer is a flat metal reed. When the reed it hit by the piano hammer, it vibrates, and an electrostatic pickup circuit converts the vibration into an electronic signal. The design of the reed and the pickup affects the timbre of the note. Other aspects of the keyboard affect the sound quality too—for instance, some models have different mechanical action or amplifier, and that will influence tone as well. But the reed initiates the sound, so it is arguably the most important piece of the puzzle.
Reed design can be classed into four main categories. (There is some nuance in reed design that we are eliding. For those interested, a very detailed analysis of reed generations can be found here.)
112/112A reeds
120/700 reeds
140/145/720 reeds
200/200A reeds, which are also used in "A" and "B" 140-series keyboards
The first and second reed generation includes early Wurlitzer models. Their reeds tend to have less sustain. On the upside, the instruments have pretty powerful onboard tube amplifiers. Connected to an extension speaker (or through the 700's onboard 12" speaker), these keyboards really fill a room and have an extremely unique character.
The third generation of reeds was very short-lived. The 140/145/720 keyboards were only manufactured briefly before the "A" revision was released. From the 140-series "A" models onward, all reeds are 200-style. For this reason, the 140/145/720 keyboards have an rare tone that is extremely unique to these particular models.
The final generation of reeds represents the classic Wurlitzer tone that we all know and love. They have excellent sustain and tonal characteristics, and it is their sound that introduces most people to the Wurlitzer electronic piano.
Although the earlier electronic pianos have many excellent details, the overall evolution of the keyboard into the 200A was extremely well-done. It is very clear that the Wurlitzer Company was not simply trying to cut costs, but consciously took the user experience into account. This is a keyboard that was explicitly engineered for people to enjoy.
Models you may like:
Wurlitzer 112, 120 or 700 if you like early, experimental analog instruments.
Wurlitzer 140, 145, or 720 if you'd like to explore a very rare variation on the beloved EP tone.
Wurlitzer 200-series if you prefer quintessential Wurlitzer electronic piano sound.
I want to hear an audible note every time I press a key
This isn't that much to ask, but it does start to eliminate a few possibilities. You'll probably enjoy most 140- or 200-series keyboards that are in reasonably good condition.
If you buy a keyboard in poor condition, however, it may have sticky keys or inconsistencies that can only be solved by replacing felt.
You're probably going to want a 140-series or newer. Early Wurlitzers have such a clunky action that you need to hit the keys fairly hard if you want notes to consistently sound.
Your keyboard should be regulated, and have all of its mechanical parts. If you find a keyboard that is already in decent shape, you'll probably still want to open it up and fine-tune a few things for the sake of consistent playing. If the keyboard is in poor condition, you may need to source a few new reeds or replace a couple of action parts.
A keyboard
I need every note to play consistently, so I can focus 100% on playing the keyboard instead of remembering its quirks.
In this case, a decent-condition Wurlitzer is probably not going to cut it for you, and you will want a fairly high level of restoration. The best way to get every note to truly play consistently is to replace felt. You can do this yourself, or have it done for you.
Because Wurlitzers have a piano action, the ability to replace felt was built in to the design of the keyboard from the beginning. Piano felt is attached using glues that can be reversed with heat or solvents. That way, when the felt is worn out, it can be replaced.
Some parts of the keyboard, like jack springs, are always under tension. Key cloth is another example—it is continually touching a capstan screw, and the shape of the screw will become indented into the felt over time. Replacing those parts will improve the keyboard regardless of its past use or environmental conditions.
There is another class of felt parts that only wears out when the keyboard is being used.[1] For instance, hammer felt is the part that smacks into the reed whenever you strike a key. Hammer felt corresponding to the keys that previous owners played the most will show the most wear. If the user was a beginner who only played music in C, then natural notes will show a lot of wear and the sharps will be basically like-new. If the previous user was possessed by the spirit of Irving Berlin, all of the F sharp major felt will be run ragged and the rest of the keyboard will be pristine. Etc.
If nobody ever played the keyboard, the hammer felt may not be worn out at all. Occasionally, you will find a classroom model Wurlitzer with near-perfect hammers—for instance, if the school bought a couple of extra keyboards that students never ended up really using. There are also single-owner Wurlitzers out there who were purchased by people who played them once or twice but mostly use them as home decor.
To really achieve a blank slate, you can replace felt globally, all over the keyboard. In this case, you will be the first person to play the keyboard in its renewed state, and the keyboard will slowly acclimate itself to the quirks of your playing—until the next time you choose to overhaul the action.
In any case, your preferred keyboard will probably have some of the following characteristics:
Models to consider:
Your ideal Wurlitzer is probably a 200-series keyboard. 200-series models have a more touch-responsive action that can be quickly accessed by removing the keyboard's plastic lid.
If you really like the sound of a 140B or a 145, you may find that their unique tone is worth a slightly more difficult repair. 140-series Wurlitzers have a similar feel to 200-series models. Because the 140-series mechanical action is less accessible, however, repairs are more time-consuming. But if you like the sound, it may be worth it to you. You'll just spend a little bit more money or time to get the same playability as a 200 or 200A.
You may really like a Wurlitzer 720. The 720 is the console version of the 140-series. Its action is slightly more accessible, because the top, front, and back of a 720 cabinet can be removed. These keyboards have a great feel, and the keys are slightly longer, giving them a snappy character. The front-facing 6x9" speaker also sounds great and simulates surround-sound experience of sitting at an acoustic piano.
Condition considerations:
If you plan to create a blank-slate feel by replacing a lot of felt, you can be flexible about the pre-restoration condition of the keyboard. You can potentially save a little bit of money upfront by choosing a keyboard that is in relatively poor shape, or has rough cosmetics.
On the other hand, you should be very careful that the keyboard does not have unusual problems, such as water damage. Problems with the wooden structure of the keyboard will compromise a full action restoration by imposing a hard ceiling on its playability. Felt is easily replaced, and action parts like hammers are obtainable, but you're pretty much stuck with the key frame and action rail the instrument came with. Unless, of course, your budget/abilities make custom fabrication possible.
Or, you might want to hold out for an excellent, single-owner keyboard or low-mileage student model to appear. In this case, you won't need to replace parts like hammer tips, and you can focus on jack springs, key cloth, and other variables like intonation.
I require perfect intonation from my instrument. I play every note on the keyboard and I want them all to have a consistent volume and timbre.
This requirement eliminates any model that does not have readily-available reeds. In other words, avoid the 112, 120/700, and the 140/145/720. Note that "A" and "B" versions of the 140/145/720 use 200/200A reeds, which are available for purchase.
If you love the sound of early Wurlitzers, we are exploring the possibility of manufacturing reeds for them. Learn more about our Wurlitzer 700 reed replacement project here.
Another downside of 112/120/700 keyboards is that they are physically more difficult to tune than later models. The reeds and reed screws are less accessible, so dialing in their intonation requires a greater time investment. On the upside, because the tone generator is a metal reed and not a string, Wurlitzer intonation is relatively stable, and a comprehensive tuning job should last for a relatively long time. However, depending on your playing style and tolerance for imperfection, you may want to make occasional adjustments. Reed adjustments are easy to do on a 200-series Wurlitzer, manageable on a 140-series, and extremely frustrating on a 112 or 120.
In general, tuning is pretty time-consuming. If you want perfect intonation, you'll either pay a lot for it, or spend a lot of time doing it yourself. For that reason, if intonation matters to you, you should spend as much time as possible evaluating a keyboard's pitch and quality before you buy it.
There are two basic moves in tuning a Wurlitzer. Flat notes are easy to sharpen, because you just file away a little bit of the solder pyramid on the tip of the reed. On the other hand, making a sharp note flat requires adding solder. This is fairly difficult to do, and, if you are new to tuning, you'll spend a lot more time on the sharp notes than the flat ones.
The positioning of the reed and the tightness of the reed screw are two other factors that affect pitch. Loosening the reed screw will lower the pitch of the reed. This is not a good way to tune a Wurlitzer, because it also changes the sustain and tone of the tone, but it is a good thing to know for diagnostic purposes.
If you encounter a Wurlitzer where all of the notes are in pitch but they all sound bad, it is possible that the reed screws are loose. Or, if the reed screws are tight, the reeds may be old and worn-out. In the first scenario, tuning the keyboard is going to take some time, because you can assume that all of the notes will need to be rebuilt with solder pyramids. In the second scenario, tuning is going to be both time-consuming and expensive, because you will also have to buy new reeds for the keyboard.
Models to look for:
A 200-series Wurlitzer is a great choice for you. New reeds are available for these models, and the intonation can be dialed in pretty precisely.
Don't forget about "A" or "B" 140-series models. These instruments also use 200/200A reeds, so it is very possible to get a highly consistent tone from them. A 720A or 720B is an interesting possibility for you. They have a luxurious action and are arguably the best keyboard for people who are intently focused on sound and feel.
Condition notes:
The tuning process is extremely variable and is based on conditions like whether the reed is sharp or flat to begin with. If all of the notes are a couple of cents off, sometimes just tightening reed screws or cleaning extra debris is enough to get the keyboard substantially in tune. If the intonation is all over the place, reeds may need to be replaced and solder pyramids may need to be rebuilt. It can take anywhere between 5 and 25 minutes to tune one reed, so each mistuned key really adds up.
Occasionally you will find a Wurlitzer that is in really nice overall condition but has weird custom tuning that you may not want, such as stretch tuning or microtonal tuning. If you know that the Wurly was previous owned by a really talented musician, you should beware that cool provenance sometimes comes with extreme idiosyncracy.
I like to play really loud, and I want to use effects like reverb or delay.
Every Wurlitzer except the 200 series has a 1/4" extension speaker output. Connecting an extension speaker to these models is extremely cool. Because you can position the extension speaker anywhere in the room, you have more flexible recording options. In 112, 120, and 140-series models, the speaker is mounted at the back of the piano, facing away from the player, which is a distinctly un-pianolike experience. On the other hand, an extension speaker can be pointed at the player.
The Wurlitzer 200 and 200A do not have extension speaker outputs, although they do have headphone outputs. It is possible to convert the headphone output to a dedicated speaker out. We plan to discuss this in a separate article.
Inserting effects into the Wurlitzer signal path is more complicated than inserting effects into a guitar signal path. This is because the Wurlitzer reed bar requires a large (but low-current) polarizing voltage in order to generate sound. Different Wurlitzer models have different reed bar voltages, but it is usually in the neighborhood of 120 V or more. So, if you'd like to insert effects into your Wurlitzer, the best way is to do so with an effects loop.
Original Wurlitzer 112 and 200A amplifiers can be modified to include an onboard effects loop. Other models simply lack the chassis space. However, some console models can accommodate a larger chassis, which opens opportunities for custom amplifiers. And any Wurlitzer that has an aux output—which includes just about every 200-series model—can have effects inserted between the aux and the connected external device. The effect, however, won't be heard through the Wurlitzer's onboard speakers.
Models to look for:
The Wurlitzer 112 and Wurlitzer 200A are the two models most easily modified for an effects loop. The Wurlitzer 112 has two preamp tubes, and the topology leaves a lot of room to add an effects loop without compromising any performance or gain. In fact, lightly re-biasing the gain stages in the 112 can give you more drive potential than the stock configuration allows. Each 200A has a section of the PCB dedicated to an input, and a separate section dedicated to an output. These sections aren't fully populated in all models, but these unpopulated footprints can be fitted with the appropriate components. Then, instead of leaving them as unrelated inputs and outputs, the wiring can be reorganized so that the output feeds the input, creating an insertion point for effects pedals.
The Wurlitzer 700 uses a 120 amplifier, and the chassis is too small to allow for the addition of an effects loop. However, there is a lot of extra space in the Wurlitzer 700 cabinet, and we often create custom Wurlitzer 700 amplifiers in a generously-sized chassis that comfortably fits additional gain stages and an effects loop. Even without the effects loop, a stock Wurlitzer 700 has an onboard 12" speaker which provides an impressive amount of bass response.
The Wurlitzer 720 has similar capacity to hold a large custom amplifier. Sadly, it doesn't have a 12" speaker—just an oval 6x9" speaker. (It still sounds cool, however.)
Condition notes
A lot of tube Wurlitzers provide a fair amount of output power, which is great for room-filling sound through an extension speaker. However, these models typically have a substantial noise floor. Part of the noise floor can be attributed to layout decisions, so mitigating this is more complicated than simply replacing filter capacitors.
Some Wurlitzers may have a deteriorated amplifier and low volume output. This is often solved by replacing coupling capacitors, although low volume could be caused by other factors as well. One model year of 200 has a coupling capacitor that was installed backwards in the factory, which leads to near-inaudible volume levels. The upside of this keyboard is that, if the capacitor is still backwards after 40+ years, it is very likely that nobody has ever played the keyboard. (It may have been a spare keyboard in a school that nobody bothered to submit the warranty on.) Once you replace that capacitor, you may have what is essentially a brand-new keyboard.
The small-signal transistors on Wurlitzer 140 and 140B are often deteriorated and will produce low volume or popcorn noise. On a Wurlitzer 140B, the preamp transistors are easily replaced; the Wurlitzer 140 has germanium preamp transistors which will need to be rebiased if silicon transistors are used. Replacing small-signal transistors on both models improves sound quality and reliability, and is a great idea.
I like really unique keyboards. I don't care if it feels clunky, as long as it makes a sound that nothing else makes.
You are in luck—Wurlitzer made a ton of extremely quirky models. What they lack in playability, they more than make up for in tonal quality and mojo.
Models to look for:
The Wurlitzer 111 is a highly rare prototype model. Its action is even less user-friendly than a Wurlitzer 112, but it contains a unique tube amplifier. Unlike later models, it has a unique tube amplifier with a pentode input tube. Pentodes are rarely used in preamps today, because they are tough to work with and can have a lot of hiss even at the best of times. However, they provide a lot of gain, and the tonal qualities of a pentode preamp will be different than that of a preamp that is all-triode.
The Wurlitzer 112 has a really cool tube amplifier that is similar to a 5E3. It provides a lot of gain and a unique frequency response that is more similar to a guitar amp than a keyboard amp. The mechanical action poses a lot of challenges, but, if you don't mind working with your instrument to learn its quirks, it is a tone machine. The Wurlitzer 120 and Wurlitzer 145 also have tube amplifiers. Each tube model has a different topology, but they all provide warm vintage sound.
Solid state 140-series models have very unique amplifiers that contain germanium transistors. The 140 is earlier, and its design is a little more primitive and may require modification before it can be considered fully usable. The 140B is an updated version of the 140, and Wurlitzer really knocked it out of the park. Although the 140B contains borderline-unobtainium components—including a germanium power transistors and a driver transformer that has two secondary windings instead of a center tap—it is fairly reliable for its age. You can get a lot of life out of an old 140B amplifier.
Condition notes
The Wurlitzer 111 amplifier has a two-prong power cord, and its transformer primary wires are mounted on the unused pins of the 5Y3 rectifier tube socket. In the 1950s, engineers and executives alike loved attaching stuff to unused tube socket pins, because it kept one more mounting strip off the Bill of Materials. As long as the amplifier is working properly, this is 100% fine. Of course, in a 70-year-old amplifier, this is a big if. In the event that the leads short together, or a fault develops, this arrangement is poses both a shock and a fire hazard.
All tube Wurlitzers will need significant work, which is best done by an experienced professional. Because Wurlitzer tube amplifiers have dense point-to-point circuits in very small chassis configurations, they are not very beginner-friendly electronics projects.
The Wurlitzer 140 should have its selenium rectifier replaced with silicon diodes. Additionally, early 140 models may need a resistor added to the input. Otherwise, any transient voltages from the reed bar may destroy the input germanium transistor stage. It is very easy to create transients when tuning the keyboard, or if a piece of debris shorts the reed to the pickup.
I want to be able to record my Wurlitzer.
All Wurlitzer models are suitable for recording. However, you should consider your preferred style of recording when choosing a Wurlitzer model that is primarily for recording.
Wurlitzer 112, 120, and 140-series models do not have an aux output, but they do have a speaker output. If your recording workflow allows for capturing a speaker acoustically, using an extension speaker with these models yields excellent results. If not, the 112 can be modified for a buffered aux output, while the 120 and 140-series Wurlitzers can be modified for a passive aux output. A passive aux must be babied somewhat—for instance, you must avoid hot-plugging—but it is often highly usable.
Models well-suited for direct recording:
The Wurlitzer 200A has the best aux output for direct recording. It contains a dedicated output circuit with discrete transistor stages, and provides a very usable signal for recording or sending to an external amplifier.
A Wurlitzer 112 modified for a buffered aux output. A Wurlitzer 112 with a fully rebuilt amplifier can be a powerful tool for recording. The original amplifier has enough gain stages to add a buffered aux, which allows you to directly capture the keyboard's unique and historic early electronic piano tone.
We often modify Wurlitzer 120 to add a passive output. However, the amplifier in original condition is somewhat noisy, due its wiring layout. We are able to rebuild the 120 amplifier for an exceptionally low noise floor, and provide a passive output as a great-sounding and highly convenient feature.
The Wurlitzer 200 has an aux output, but it is a passive output that reproduces both signal and noise with a high level of accuracy. Occasionally, we modify a Wurlitzer 200 to accept a 200A amplifier. This is very cool because you can combine the Wurlitzer 200's rail-mounted alnico speakers with the more robustly-designed 200A amplifier.
Condition notes:
Obviously, sound quality is not the only factor when choosing a Wurlitzer well-suited for recording. Someone will have to play it, and this is difficult as long as the mechanical action is in poor condition. To ensure excellent recording potential, start with a keyboard that shows very little environmental damage or mishandling. Keyboards that have worn felt are acceptable, because we generally recommend replacing worn felt throughout the keyboard before using them for serious recording or performance applications.
Any tube model will likely require significant rebuilding. This is because the standards for high-quality recording are different today than they were in the 1950s and 1960s when the amplifier was produced, so the engineers who designed them did not prioritize a low noise floor. However, the basic topologies of the amplifiers still provide a high level of sound quality, so reorganizing the wiring scheme and beefing up the power supply filtering results in a low-noise amplifier with lots of vintage tone.
What kind of Wurlitzer do I need if I'm bad at playing piano?
If you are a beginner piano player, you should paradoxically choose a Wurlitzer in good-to-excellent condition. It should also probably be a 200 or a 200A, because they are closest to the feel of an acoustic piano. A 140-series Wurlitzer is also a good option, because they have fairly sophisticated mechanical actions also. However, 140-series keyboards are older and tend to be found in worse condition.
Some beginners think that they don't "deserve" a nice instrument until they graduate to some intermediate or advanced skill level. In the meantime (so the theory says), they should practice on a mediocre keyboard. In fact, this belief is counterproductive and it will stunt your abilities.
Beginners actually get the most benefit using a piano that plays well. Without the experience to know what a piano should feel like, it is very easy to develop bad habits. Plus, a piano that makes you sound slightly better than you really are improves morale and encourages practice. Wurlitzer knew this; that's why so many of their home organs included features (like Chord Magic and Pedal Sustain) that were intended to help novice players sound like a better musicians.
Some people consider a Wurlitzer a frivolous luxury for beginners. However, if classic Wurlitzer tone is what motivates you to play, go for it. There is no need whatsoever to spend any time playing a digital piano if you don't want to. (Or, if you do want to, get one of each. Get two of each! Life is short.)
Plus, Wurlitzer went to great lengths to place Wurlitzers in classrooms. From the beginning, Wurlitzers were purpose-built for learning on. If you want to be strict about it, tape off your 200/200A vibrato knob until you can play your beginner repertoire with fluency.
Experienced players can choose problem Wurlys if they want to
Intermediate and advanced players can compensate for deficiencies in the feel of the keyboard as they play. (This is one reason why Ray Charles' performance of What'd I Say is so impressive. The Wurlitzer 120 has a similar mechanical build as a Jenga tower in free-fall.) Of course, it is a lot more fun to play a Wurlitzer that has been restored to near-perfect condition. But an experienced player can consider what touch-responsiveness and tone is required for their specific setup. Becoming familiar with a keyboard's quirks can substitute for perfectly consistent mechanical condition.
[1] Assuming, of course, mice didn't climb into the action and eat it, or anything unusual like that.