Wurlitzer 200A
At 64 keys and transistor-powered, it carries a bark that cuts through a mix.
Overview
The Wurlitzer 200A Electric Piano isn't chasing elegance. It's built for presence and punch, the kind of midrange snarl that forces a band to make room. Introduced in 1968 as an update to the original 200, the 200A got a new and improved amplifier circuit and kept the same electrostatic pickup system that gave Wurlitzers their signature edge. Where the Rhodes leans into warmth and sustain, the 200A bites back. Its tone is reedy and slightly nasal, described as "snappy" and "honest," and it cuts through rock, jazz, and soul without begging for space. It was portable thanks to its built-in amplifier and speakers, tough enough for the road, and it shows up on recordings from The Doors' 1970 Isle of Wight performance to Stevie Wonder's *Talking Book* sessions.
Owners report it responded well to external treatment. Run it through an overdriven amp and it growls. The tremolo circuit added a pulsing warmth that became a signature texture, part of the instrument's voice and not only an effect. It wasn't as polished as its competitors, and players who wanted more grit than the smoother Rhodes could offer favored it. It was also the most commercially successful model in the 200 series, so it reached more hands, more stages, and more studios than any other Wurlitzer before it.
Specifications
| Manufacturer | Wurlitzer |
| Product type | Electric Piano |
| Number of keys | 64-Key |
| Polyphony | Full |
| Amplifier | a new and improved amplifier circuit, complete with speaker |
| Power | transistor-powered |
Key Features
Vibrating Metal Reeds with Electrostatic Pickups
The 200A's sound comes from its mechanical-electrostatic system. Felt-tipped hammers strike tuned metal reeds, which vibrate near electrostatic pickups. Unlike magnetic pickups, these rely on capacitance changes, which gives a sharper, more immediate attack. The tone is bright and cutting, less rounded than a Rhodes, with a "bell-like bark" that refuses to blend into the background. Engineers and players describe it as warm but with a deliberate roughness around the edges.
Built-In Amplifier and Speakers
Portability was built in. The 200A doesn't need an external amp. The amplifier and speaker sit inside the chassis, so it's a self-contained instrument. That appealed to gigging musicians in the 1970s who needed reliability and speed. The amplifier is transistor-powered and mounted on a small green circuit board, with power transistors mounted upside-down. That's a quirk of the era's layout that technicians still note today. The onboard sound isn't studio-grade, but it's loud enough to cut through a live mix and gives a direct line into the instrument's raw tone.
Tremolo Circuit as Sonic Signature
The tremolo isn't an afterthought. It's baked into the 200A's identity. Engaging it adds modulation, and it also changes the voice, with a pulsing warmth that softens the attack while enhancing the midrange shimmer. Many players leave it on by default and treat it as part of the core sound. Unlike stereo phasing or chorus, the tremolo here is a defining feature, and it adds to the instrument's human, almost nervous energy.
Harp Cover and Refined Enclosure
The 200A model includes a harp cover, a small but meaningful upgrade from earlier versions that left the reed assembly more exposed. It improved durability and reduced dust accumulation on the sensitive electrostatic plates. With the updated amplifier, the 200A was a refinement of the original 200's design - more reliable, slightly sturdier, and better suited for consistent use.
Historical Context
Wurlitzer's roots stretch back to 1853, but its move into electric pianos came in the late 1950s. The 200 series, launched in 1968, was compact, aggressive, and accessible. The 200A followed as a direct evolution of the 200, incorporating feedback from players and technicians. Wurlitzer ceased production of electric pianos in the early 1980s.
Collectibility & Value
Original instruments remain in high demand among players and producers who prize the unique voice. No original pricing data survives, but current market estimates suggest working 200A units sell between $500 and $1,000, depending on condition and provenance. Individual parts can be pricey - a single original sustain pedal was listed for $300. Tropical Fish Vintage offers guides for common repairs, and Vintage Vibe is frequently cited as a reliable source for replacement parts. Morelocks Organ Service holds original manuals, which makes restoration more feasible.
Market Value
┌──────────────────────────────────────────────────────────────────────────┐ │ WURLITZER 200A Nov 2026 │ ├──────────────────────────────────────────────────────────────────────────┤ │ High $2,350 Latest $1,225 │ │ Median $2,200 Trend — │ │ Low $1,225 Volume ~3/mo │ ├──────────────────────────────────────────────────────────────────────────┤ │ $3,000 ┤ │ │ │ │ │ │ │ │ $2,143 ┤. . │ │ │ │ │ │ │ │ │ │ │ $1,000 ┤ .│ │ ├─────────────────────────────────────────────────────────────────│ │ vol │█ █ █│ │ └─────────────────────────────────────────────────────────────────│ │ 2026-04 2026-05 2026-05│ └──────────────────────────────────────────────────────────────────────────┘
eBay completed sales. Excludes accessories, parts, and non-working units. Hover points for details.
eBay Listings
Recently sold on eBay: $1,225–$2,350 (median $2,200, based on 3 completed sales, past 12 months)
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