Dave discovered a treasure trove of information, some new and some old, amongst which were several Wurlitzer ledgers amounting to disjointed sections of what could be described as an overall At the time this ledger information was uncovered no one here at the Mechanical Music Press had any thought or intention of compiling the data as part of a new Mechanical Music Registry; initially it was primarily intended to augment Mr.
Bowers' already extensive knowledge of mechanical music history.
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Apparently has no manual: One original owner was given a 110 manual instead (which confused him given the changes in accessing the works).
pages specific to Wurlitzer band organs, a copy of which was part of the Dick Howe collection of paper ephemera pertaining to automatic musical instruments.
There were a few color options that were only available on the 200 (red, forest green, and beige) that were not available on the 200A.
Another distinguishing cosmetic note is that the Wurlitzer emblem on the back of the keyboard from the player was only on the last few years of the 200A.
Even when taking a close look under the hood, you will find that their action assemblies and the reeds that produce their sound are perfectly identical, leaving only a few distinguishing characteristics to look and listen for.
Actually, the cosmetics of each instrument can be differentiated from one another in some cases.The lead treble sustain brick of later 1950s models is not found here, though other smaller weights are attached at various spots. Much more common than the 110, as several have shown up for sale recently.[says Fred, true of some 111's too.] Piano sits on a table with wrought-iron legs. The body has changed, and now the action is accessible from the top, instead of sliding out the front.Wurlitzer pianos were made in America starting in 1880. Because of their identical cosmetic design, it is common for people to mistake a 200 for a 200A and vise versa.When lifting the lid, the serial number may be stamped on a small, golden plate.