Wurlitzer electronic piano
The Wurlitzer electronic piano is an electric piano manufactured and marketed by Wurlitzer from 1954 to 1983. Sound is generated by striking a metal reed with a hammer, which induces an electric current in a pickup. It is conceptually similar to the Rhodes piano, though the sound is different.
Wurlitzer electronic piano
The instrument was invented by Benjamin Miessner, who had worked on various types of electric pianos since the early 1930s. The first Wurlitzer was manufactured in 1954, and production continued until 1983. Originally, the piano was designed to be used in the classroom, and several dedicated teacher and student instruments were manufactured. However, it was adapted for more conventional live performances, including stage models with attachable legs and console models with built-in frames. The stage instrument was used by several popular artists, including Ray Charles, Joe Zawinul and Supertramp. Several electronic keyboards include an emulation of the Wurlitzer.
As the Wurlitzer is an electromechanical instrument, it can need occasional maintenance, such as re-tuning and replacing broken reeds. However, the action and performance of the instrument has meant it is stable enough to be used for years.
Sound[edit]
The official name of the instrument is the Wurlitzer Electronic Piano.[1] However, the sound is generated electromechanically by striking a metal reed with a felt hammer, using conventional piano action.[2] This induces an electrical current in an electrostatic pickup system running at 170 V DC.[1][3]
Most Wurlitzer pianos are 64-note instruments whose keyboard range is from A an octave above the lowest note of a standard 88-note piano to the C an octave below its top note.[4] The instrument is fitted with a mechanical sustain pedal.[1] It has one, two or four internal speakers (depending on the model), but can also be connected to an external amplifier.[5]
Compared to the Rhodes piano, the sound from a Wurlitzer is sharper and closer to a sawtooth wave, while the Rhodes' is closer to a sine wave. This gives the Wurlitzer a sharper and punchier tone.[6] When played gently the sound can be sweet and vibraphone-like, sounding similar to the Rhodes; while becoming more aggressive with harder playing, producing a characteristic slightly overdriven tone usually described as a "bark".[3][7]
Over time, particularly with aggressive playing, the reeds on a Wurlitzer will suffer metal fatigue and break. Additionally, any debris between the reed and the pickup can cause a short circuit and produce a burst of distortion.[7]
Maintenance[edit]
The most common maintenance and service task on a Wurlitzer is replacing broken reeds. In order to sound the correct pitch, each reed has a blob of solder on the end, which must be filed off to produce the right weight. Reeds have elongated screw holes, which allows fine tuning by moving it backwards and forwards in the assembly before fastening.[38] It is still possible to buy spare reeds, or take them from another instrument that has broken.[39] A further issue is debris between a reed and the pickup causing distortion or pops. The easiest way to fix this is to repeatedly press each key in order to dislodge the dirt. Failing that, a more comprehensive solution is to open the instrument up and spray compressed air at the affected area.[23]
In contrast, Wurlitzer purposefully over-engineered the piano action, as it was designed to resemble that of an acoustic piano to help teaching. Unlike the hammers on a Rhodes, which can develop unwanted grooves from over-hitting, the action on a Wurlitzer has been seen to operate well into the 21st century.[27]
Clones[edit]
The Wurlitzer is emulated in several modern digital keyboards,[40] though its electromechanical sound production is difficult to emulate in a synthesized instrument. The Korg SV1 has been critically praised for its accurate emulation of a Wurlitzer.[41] The Nord Stage includes the emulation of a Wurlitzer.[42]
In 2012, Arturia released the Wurlitzer V, a Virtual Studio Technology (VST) software emulation of the original instrument.[43] Apple's Logic Pro X includes an emulation of a Wurlitzer 200A.[44]
Notable users[edit]
Jazz pianist Sun Ra may have been the first to release recordings using the instrument, on 1956 singles later compiled on his album Angels and Demons at Play.[47] Ray Charles began playing a Wurlitzer, as he preferred to take a portable instrument with him instead of using whatever piano was at a venue; his 1959 hit What'd I Say featured the model 120 prominently. Joe Zawinul borrowed Charles' Wurlitzer for a gig backing Dinah Washington, and liked the instrument enough to buy his own model.[18] He played a model 140B on "Mercy, Mercy, Mercy," his 1966 hit with the Cannonball Adderley Quintet.[47] Spooner Oldham used a 140B Wurlitzer on Aretha Franklin's 1967 single "I Never Loved a Man (The Way I Love You)", playing a riff that runs through the whole song, while Earl Van Dyke played one on Marvin Gaye's "I Heard It Through the Grapevine".[18] The Small Faces used a 140B Wurlitzer on "Lazy Sunday".[40]
The instrument was used extensively by British band Supertramp in the 1970s, in songs such as "The Logical Song", "Goodbye Stranger" and "Dreamer".[18][47][48] 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".[18] Part of the iconic sound of the early Carpenters' hits was Richard Carpenter's Wurlitzer electronic piano.[49]
Eddie Van Halen played a Wurlitzer through an MXR flanger and Marshall amplifier on "And the Cradle Will Rock..." on Van Halen's 1980 album Women and Children First.[50][51] Norah Jones has regularly used a Wurlitzer on stage. Her preferred model is a 206 (a student version of the 200) repainted in a deep-red finish.[52]