Although both the Wurlitzer’s headphone out and aux out are (obviously) outputs, they tap the signal from very different points in the circuit. In this article, we’ll describe the differences between the two outputs, so that you can choose which one is better for your application.

This Wurlitzer 214 that we once had is a classic example of 214 glory. The Avocado green top was in excellent condition and the tolex was all there without any tears. The wooden keybed has some “chair” nicks and the grill cloth had some stains, but no tears! Perhaps the most amazing feature of the 214 is that it is a complete 200 set on top of a console which houses four 8” round speakers. The four speakers - two in front and two in the back - project the Wurlitzer’s awesome tone in all directions!

When we walked into the room where the original owner had this keyboard, the seller mentioned they had it switched on for us ready to try out. We thought, oh then it must not be making sound because we heard nothing - not even the usual idle hum. We played a A-7 chord, and a wall of rich tube sound blasted out of the massive 12” alnico speaker. Needless to say, we were floored.

This is a classic example of a Wurlitzer 112a that we once had. We photographed it in our main studio live room. A serviced Wurlitzer 112a electronic piano is a powerful music making tool in any studio! The effective alnico speaker is mounted on the rear of the instrument so it can be easily mic’d without picking up much (or any) mechanical key or finger noise from the players’ hands.

This is a classic example of a Wurlitzer 200a that we once had. We photographed it in front of a wall at the studio - actually, in the control room. (The “signal” stencil is a holdover from the building’s time as a Metro-North Railroad switching station.) The floor is very slanted so we got to use an underrated feature that all portable 200 models have: adjustable feet.