The Wurlitzer electronic piano is an electric piano made and sold by Wurlitzer from 1954 to 1983. Sound is created when a hammer strikes a metal reed, which causes an electric current in a pickup. This instrument is similar in design to the Rhodes piano, but the sounds they produce are different.
The instrument was invented by Benjamin Miessner, who worked on many types of electric pianos since the early 1930s. The first Wurlitzer was made in 1954, and it was produced until 1983. At first, the piano was designed for use in classrooms, and special versions for teachers and students were made. Later, it was changed to fit live performances, such as stage models with legs that could be attached and console models with built-in frames. The stage version was used by famous musicians like Ray Charles, Joe Zawinul, and Supertramp. Some electronic keyboards now include a sound that copies the Wurlitzer.
Because the Wurlitzer is an electromechanical instrument, it may need regular care, such as re-tuning and replacing broken reeds. Its design and performance make it strong enough to be used for many years.
Sound
The sound of a Wurlitzer electronic piano is created using both electricity and mechanical parts. A felt hammer strikes a metal reed, and this action uses the same mechanism as a traditional piano. This movement generates an electrical current in a system that uses static electricity and operates at 170 volts of direct current.
Most Wurlitzer pianos have 64 keys. Their range starts at A, which is one octave higher than the lowest note of a standard 88-note piano, and ends at C, one octave lower than the highest note of a standard piano. The instrument includes a mechanical sustain pedal. It has one, two, or four built-in speakers, depending on the model, and can also be connected to an outside amplifier.
Compared to a Rhodes piano, the Wurlitzer produces a sharper sound that is more similar to a sawtooth wave, while the Rhodes has a sound closer to a sine wave. This makes the Wurlitzer’s tone brighter and more punchy. When played softly, the Wurlitzer can sound sweet and similar to a vibraphone, like the Rhodes. However, when played forcefully, it creates a more aggressive, slightly overdriven tone often described as a "bark."
Over time, especially with heavy use, the metal reeds in a Wurlitzer may break due to wear from repeated striking. Small pieces of debris between the reed and the pickup system can cause a short circuit, leading to sudden bursts of distortion.
History
In the early 1930s, inventor Benjamin Miessner created a piano that could be heard more clearly by adding an electrostatic pickup system to an acoustic baby grand piano. He first showed the instrument in 1932. In 1936, he presented it again at the NAMM Convention in Chicago. By 1940, Miessner had received a patent for his design, which was used in several electric piano models across the United States.
In the early 1950s, Miessner developed a new electric piano that used steel reeds instead of strings. This change allowed the instrument to be smaller because it did not require the space needed for tension-loaded strings found in traditional pianos. The reeds were carefully designed to create clear, musical sounds when struck by hammers. Since the piano did not make loud acoustic noises, it could be played quietly with headphones.
A better version of the piano was created in Chicago by Paul Renard and Howard Holman for Wurlitzer. The first model, called the 100, was made in DeKalb, Illinois, by Clifford Andersen. It was announced in August 1954 at a trade show in Chicago, and production began later that year. The 110 and 111 models followed soon after, with the 112 model introduced the next year. Early versions were made in a small factory in Corinth, Mississippi.
In May 1956, Wurlitzer opened a large factory in Corinth, Mississippi, to produce electric pianos. Many models were made there until 1964, when production expanded to another plant in DeKalb, Illinois. Later, production also moved to Logan, Utah. In the late 1970s, costs were reduced to improve profits because musicians began using digital synthesizers instead of Wurlitzer pianos. The last model, the 200A, was no longer made by 1983. About 120,000 instruments were produced in total. The Corinth factory closed in October 1988. Baldwin, which had bought Wurlitzer the year before, required that all factory records, including piano designs, be destroyed.
The Wurlitzer electric piano was popular with bar bands and amateur musicians because it allowed pianists to use the same instrument at every performance instead of relying on whatever piano was available at a venue. Its portability made it useful for practice and songwriting.
Wurlitzer advertised its pianos with famous people like Count Basie, Marian McPartland, and Frederick Dvonch. Steve Allen appeared in multiple Wurlitzer advertisements and recorded promotional albums for the company.
Models
Most Wurlitzer pianos are portable and have removable legs. The sustain pedal is attached using a Bowden cable. Console, "grand," and "spinet" models also have a permanently attached pedal. Early models had sustain pedals connected through the right side of the instrument. In 1956, the pedal was moved directly under the unit, starting with the model 112A.
The earliest versions were the "100" series. These had cases made from painted fiberboard and included a single loudspeaker mounted in the rear. The 120 model, introduced in 1956, had a lighter cabinet, an improved reed system, electromagnetic shielding, and an optional external "tone cabinet" called the 920, which added a tremolo effect.
The 140 model was introduced in 1962. It included an onboard tremolo, which was mistakenly labeled "vibrato" on the control panel. This tremolo had a fixed rate but adjustable depth. Models produced until the early 1960s used vacuum tube circuitry. The 140 was the first model to use a transistor amplifier. The 145 model had a tube amplifier and was produced at the same time as the 140. The 145B, the last portable tube model, was phased out in late 1965. The 140B continued production, with about 8,000 units made. A solid-state classroom version, the 146B, was later renamed the 146.
In 1968, the 200 model was introduced. It replaced earlier wooden models with a plastic lid and was lighter, weighing 56 pounds (25 kg) without legs or pedal. It had a 30-watt amplifier and two loudspeakers facing the player. This design reduced costs because the case could be molded instead of being cut and joined. The 200 had a different keyboard action and an updated tremolo effect. Its top hinged at the back, making it easier to service. It became the most popular Wurlitzer model, with about 88,000 units produced. The 200 was available in black, dark "Forest Green," red, or beige.
The 200 model was updated as the 200A in 1974 and produced until 1983. It had an improved shield over the reed and pickups to reduce electrical hum. The last version, the 200B, was introduced in 1978. It looked like the 200A but used high-voltage batteries instead of an internal amplifier or speakers to reduce noise.
Wurlitzer pianos were often used as student instruments in schools and colleges. Non-portable console versions were made for this purpose. Teachers used headphones and microphones to listen to and speak with individual students without others hearing. All students used headphones to hear their instruments. Up to 24 student instruments could be connected together. By the late 1960s and early 1970s, about 75% of universities used Wurlitzer piano labs. Some of these labs remained in use as late as 2000.
Most student models resemble a beige or light green Model 200 mounted on a matching pedestal with a loudspeaker, headphone niche, and sustain pedal. These models lack tremolo, though earlier versions had the feature disabled. Some student models were labeled 206/206A. Teacher consoles, such as the 205V and 207, had multiple monitor/mute switches and, in some cases, a large illuminated display panel called the "Key Note Visualizer." Classroom consoles included the 214/215 series, while home/stage consoles were the 203, 203W, and 210. A rare, angular model called the 300 was available in Europe around 1973.
A rare model, the 106P (P for "Pupil"), had only 44 keys and no controls. It was used in classroom sets of eight on a folding frame. These were connected to a full-size teacher piano with controls. The 106P was available in orange or beige and dates from the early 1970s. Page McConnell, a musician in the band Phish, has played a customized version with an added vibration circuit.
Some Wurlitzer models were made for home use. The model 700 had the same amplifier and action as the portable 120 and included a 12-inch internal speaker that emphasized bass sounds. The model 720 was the spinet version of the 145 tube model.
The 200A had a domestic version called the "Butterfly Baby Grand" (model 270). This model had a semicircular, walnut-finished wooden case with twin quadrant-shaped lids above horizontally mounted 8-inch loudspeakers.
Maintenance
The most common task for maintaining a Wurlitzer is replacing broken reeds. Each reed has a small piece of solder on its end, which must be filed off to achieve the correct weight for the right pitch. Reeds have long screw holes that allow for fine adjustments by sliding the reed back and forth before securing it. Spare reeds can still be purchased or taken from another broken instrument. Another issue is dirt or debris between a reed and the pickup, which can cause noise like pops or distortion. To fix this, press each key repeatedly to remove the dirt. If this does not work, opening the instrument and using compressed air on the affected area is a more thorough solution.
In contrast, the Wurlitzer was designed with extra parts in its piano action to closely resemble that of an acoustic piano, aiding in teaching. Unlike the hammers on a Rhodes, which can wear down from frequent use, the Wurlitzer's action has been known to function properly for many years, even into the 21st century.
Clones
The Wurlitzer is recreated in several modern digital keyboards. However, the way the original instrument makes sound using both electricity and mechanical parts is hard to copy in a synthesized instrument. The Korg SV1 has received praise for accurately recreating the sound of a Wurlitzer. The Nord Stage also includes a recreation of a Wurlitzer.
In 2012, Arturia released the Wurlitzer V, a Virtual Studio Technology (VST) software that copies the original instrument. In 2024, Cherry Audio released the Wurlybird 140B, a virtual instrument modeled after the Wurly 140B. Apple’s Logic Pro X includes a recreation of a Wurlitzer 200A.
Notable users
Jazz pianist Sun Ra might have been the first to record music using the Wurlitzer instrument. His 1956 recordings, later collected on his album Angels and Demons at Play, included the instrument. Ray Charles began playing a Wurlitzer because he preferred to bring a portable piano instead of using the one available at each venue. His 1959 hit "What'd I Say" featured the model 120 prominently. Joe Zawinul borrowed Charles' Wurlitzer for a performance with Dinah Washington and later purchased his own model. He played a model 140B on "Mercy, Mercy, Mercy," his 1966 hit with the Cannonball Adderley Quintet. Spooner Oldham used a 140B Wurlitzer on Aretha Franklin's 1967 single "I Never Loved a Man (The Way I Love You)," playing a repeating musical phrase throughout the song. Earl Van Dyke played a Wurlitzer on Marvin Gaye's "I Heard It Through the Grapevine." The Small Faces used a 140B Wurlitzer on their song "Lazy Sunday."
The Wurlitzer was widely used by the British band Supertramp in the 1970s, appearing in songs like "The Logical Song," "Goodbye Stranger," and "Dreamer." Queen's John Deacon played a Wurlitzer on their hit "You're My Best Friend," and Pink Floyd's Richard Wright played one on "Money." Part of the recognizable sound of the early Carpenters' songs came from Richard Carpenter's use of a Wurlitzer electronic piano.
Eddie Van Halen played a Wurlitzer through an MXR flanger and Marshall amplifier on "And the Cradle Will Rock…" from Van Halen's 1980 album Women and Children First. Norah Jones has frequently used a Wurlitzer during live performances. Her preferred model is a 206 (a student version of the 200), painted in a deep-red color.