This console model was followed by similar-looking wood/furniture models in the early 60’s that complemented their parallel portables: The aforementioned 720, the underrated, stunning 720A, then the solid state, smaller-speakered 720B, and the 726(B) (a classroom console). Now that this has been brought to my attention, I look forward to working on my next 700, to see if I find this to be a typical trait. He theorizes that the additional mass of the furniture model’s body makes overkill out of the sustain brick design. (In fact, the dampers start in more or less the same range as on my conventional upright piano.) Wurly expert Mark Alden Ross finds that his 700 has TOO much upper-note resonance, perhaps more than found on a 120. If installing a Wurlitzer amp from the 1957-61 era into a 120, and prior instrument source is unknown, check the octal socket wiring carefully against both the 120 and 700 schematics, especially terminals 4 and 5.Īs with the 120, and the 1962-3 Models 140, 145, and 720, this model keeps its top 11 notes undamped, presumably to add harmonic overtones and a sort of “reverb” to the other notes, similar to the undamping found at the top of a piano. Some amps seem to resemble the later schematic wiring while “plugging in” according to the octal arrangement of the earlier (120) schematic. The internal speaker is wired differently as well–the wires on the end of the 120-manual amp’s chassis, which connect to the internal speaker, are absent on the later 700-manual-schematic amps. In short, some or all later amps, as shown in the 700 manual, have an extra heating wire running to through octal terminal 5 to power the pilot light, and in model 700’s, some other wires are moved around to accommodate the soft pedal. Note: There are important differences in the installation wiring of the amps for 120’s and 700’s over time this also partially corresponds to differences in the model number of a given amp. See the Model 120 page for a brief further discussion of this vagueness.
WURLITZER CONSOLE PIANO VALUE MANUAL
(I would like to add some more photos of these speakers… clearly they changed from year to year.)Īs the 120 manual calls the amp the “600-C,” the 700 manual’s amp schematic calls the amp model “600-3.” The amps that I’ve taken note of in a 700’s seem to have evolving labels: Some say “Model 700,” (1958) some say “1200-1” (circa 1959) and later ones have part number 601200-1 (Sept 1960) there may be some additional variation over the run of these instruments. (The late 60’s console models, and on, will have 8″ speakers instead.) The printing on the speaker, by the way, is the best way one has of determining the relative date of this instrument, unless there’s a piece of masking tape with scribbles on the reed bar. Only two other Wurlitzer models, both tube-amp wood consoles, will come with a speaker this large: The 720 (1962-3) and the 720A (1963-4) in fact, the later 720A’s from 1965 used the last of the 1960 production run of speakers intended for this model. Combined with the richness of the recently-redesigned bass reeds that debuted with the Model 120, these instruments can have a phenomenally full, rich sound. It is now unclear when this instrument hit the market it might have been late 1957.Ī distinctive new feature of this model is its 12″ speaker. Several dates, including handwritten production ones, place this instrument in late October 1957.
WURLITZER CONSOLE PIANO VALUE SERIAL NUMBER
*Update– I have just received data on Model 700 serial number #12744, the earliest one I know of. 1961 may be the actual end-date for manufacture or sale. The next models (the 140, the 145, and the 720) debuted in late 1962, and I don’t know when the last of these would have shipped. The last ones I have found have electronics stamped for the week of September 11, 1960, which has me surmising they were assembled in early 1961. It was introduced in 1958*, maybe 12 to 18 months after the 120.
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