Theatre Organ Wiki - User contributions [en-ca]

Wurlitzer Chest Repetition Speeds

2025-09-16T21:47:44Z

GabrielPeressini:

The following is a letter which first appeared in the March/April 1984 issue of ''Theatre Organ'' by Judd Walton of Vallejo, California.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 26, no. 2, January/February 1984, p. 53. [https://www.atos.org/journal/issue/26/2]</ref>

The issue has been raised on page 21 of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 25, no. 5, September/October 1983, p. 21. [https://www.atos.org/journal/issue/25/5]</ref>, September/October 1983, about the speed of electro-pneumatic action. The subject has been discussed for many years without positive conclusions published. A few years ago my partner, Bob Jacobus, and I were visiting Roy Emison in Kansas City, Kansas. During a happy three-day visit this subject came up and as a result Roy agreed to set up the necessary test equipment to research the subject and try to establish conclusions based on reasonably accurate test procedures. On a subsequent visit, we three reviewed the test equipment and procedures that Roy had set up, and the results he obtained. We ran through the series of tests selecting at random to double-check Roy's findings. We all agreed that the results were as accurate as the testing equipment could produce.

The equipment used was:
# Strobotac stroboscopic tachometer used to measure speed without drag on the action;
# Stewart-Warner magnetic speed indicator;
# Veeder counter used for checking;
# Facsimile of a Wurlitzer relay and chest built to scale by Roy from measurements taken from his residence-installed Wurlitzer, Style 260, Opus 1173, originally installed in the Newman Theatre, Kansas City, Missouri; and
# A Wurlitzer Open Diapason pipe, G# number 33 on the 8' scale. It was chosen being near the middle of the compass and for its promptness of speed, a middle-of-the-road choice.

Wind was supplied to the facsimile relay and chest at 10" pressure from he organ blower, a 10-hp Orgoblo. Temperature was controlled at 68° Fahrenheit. Very thin Brown leather
and Zephyr skin was used to cover the pneumatics. The facsimile chest and relay were built with a side window for observation purposes.

The following input was important to the test results:
# Relay contact bar was set to travel ¹⁄₁₆" (¹⁄₃₂" open, ¹⁄₃₂" closed);
# Slack in the secondary chest pneumatic was made by cutting the flex material oversize to allow for ⁷⁄₆₄" travel of the striker felt before it hit the valve arm spoon; and
# Magnetic travel of the magnet armature was set at ¹⁄₃₂" using a Wurlitzer Brass Plug magnet.

==Observations==
The speeds shown on the chart were an average of several readings. It was discovered that the complete relay (both primary and secondary pneumatics) continued to operate after action had ceased on the pipe valve, and continued to operate up to 1700 cycles/minute (28.3 cycles/second), the top limit of the test equipment. As a possible reference point, the speed of a Xylophone hammer was measured up to 700 cy/min (11.7 cy/sec). Bypassing its reiterating contact allowed it to be accelerated up to 800 cy/min (13.3 cy/sec) before it faded out. The term "faded out" refers to the failure of an action to follow the speed of the input. It was observed that the speed of the action (key contact through relay and chest) may be increased from 680 cy/min (11.3 cy/sec) to 1050 cy/min (17.5 cy/sec) (approximately 50%) by changing adjustments and pneumatic covering material. This fact emphasized the importance of correct adjustments for maximum performance.

==Comments==
A Wurlitzer relay/chest combination operates faster when ultimate adjustments obtain and when pneumatics are covered with Zephyr skin. However, the time elapse difference is minimal (1.5 cy/sec).

==Summary==
The fastest reiterating speed obtained by the pipe pallet valve in the chest, figure ([[#pointA|a]]) on the chart, was 1150 cy/min (19.2 cy/sec). This was obtained by bypassing the relay with electrical input directly to the chest magnet. Zephyr skin was used on the primary and secondary pneumatics, with travel adjustments as noted.
The fastest reiterating speed using brown leather on the pneumatics was figure ([[#pointB|b]]) on the chart, i.e., 1050 cy/min (17.5 cy/sec). This finding definitely proves that Zephyr skin-covered pneumatics are faster. However, the time elapse difference is minimal, i.e., 1.5 cy/sec.
Including the relay in the circuit produced the results as shown at figures ([[#pointC|c]]) and ([[#pointD|d]]). The time elapse difference is now much more significant, i.e., 4.2 cy/sec. This greater differ- ence reflects the operation time of the relay pneumatics and travel adjustments. It should also be noted that a combination of Zephyr and Brown leather in the pneumatic circuit increased the speed somewhat over that obtained using only Brown leather.
The question raised by the above-listed findings would naturally be the apparent result to an organist. With the assistance of Mr. Gordon Kibbee, noted organist and organ consultant, it was determined by tests he made that a manual key could be played at a Speed of 20 cy/sec, which extends to 1200 cy/min. This figure was obtained using two fingers, one on each hand, striking the same key. Using one finger only, the result was between 16 and 17 cy/sec. The differ- ences between the above and the relay/chest action results indicate a loose relationship between the demands of a competent organist and he response of the organ action.

{| class="wikitable" style="text-align:center;"
|- style="font-weight:bold;"
! colspan="9" | Reiteration Speeds of Wurlitzer Standard Relay and Chest
|-
| colspan="5" | Chest
| colspan="2" | Relay
| colspan="2" | Maximum Speed
|-
| colspan="2" | Primary
| colspan="3" | Secondary
| Primary
| Secondary
| colspan="2" style="text-align:left;" |
|-
| Pneumatic Material
| Valve Travel
| Pneumatic Material
| Valve Travel
| Pneumatic Slack
| colspan="2" | Pneumatic Material
| style="font-style:italic;" | (cy/min)
| style="font-style:italic;" | (cy/sec)
|-
| Br. L
| ¹⁄₃₂"
| Br. L
| ¹⁷⁄₆₄"
| ¹⁄₃₂"
| colspan="2" style="font-style:italic;" | Relay By-passed
| 790
| style="text-align:right;" | (b) 13.1
|-
| Br. L
| "
| Br. L
| ⁵⁄₃₂"
| "
| colspan="2" | "
| 1000
| style="text-align:right;" | 17.7
|-
| Br. L
| "
| Br. L
| "
| ⁷⁄₆₄"
| colspan="2" | "
| 960
| style="text-align:right;" | 16.0
|-
| Br. L
| "
| Zephyr
| "
| ¹⁄₃₂"
| colspan="2" | "
| 1050
| style="text-align:right;" | 17.5
|-
| Br. L
| ¹⁄₁₆"
| Zephyr
| "
| "
| colspan="2" | "
| 1030
| style="text-align:right;" | 17.2
|-
| Zephyr
| ¹⁄₃₂"
| Zephyr
| "
| "
| colspan="2" | "
| 1150
| style="text-align:right;" | (a) 19.2
|-
| Br. L
| ¹⁄₃₂"
| Br. L
| ¹⁷⁄₆₄"
| ¹⁄₃₂"
| Br. L
| Br. L
| 680
| style="text-align:right;" | 11.3
|-
| Br. L
| "
| Br. L
| ⁵⁄₃₂"
| "
| Br. L
| Br. L
| 800
| style="text-align:right;" | (d) 13.3
|-
| Br. L
| "
| Br. L
| "
| ¹⁷⁄₆₄"
| Br. L
| Br. L
| 770
| style="text-align:right;" | 12.8
|-
| Br. L
| ¹⁄₁₆"
| Zephyr
| "
| ¹⁄₃₂"
| Br. L
| Br. L
| 810
| style="text-align:right;" | 13.5
|-
| Br. L
| ¹⁄₃₂"
| Zephyr
| "
| "
| Br. L
| Br. L
| 830
| style="text-align:right;" | 13.8
|-
| Zephyr
| "
| Zephyr
| "
| "
| Br. L
| Br. L
| 980
| style="text-align:right;" | 16.3
|-
| Zephyr
| "
| Zephyr
| "
| "
| Zephyr
| Br. L
| 1000
| style="text-align:right;" | 16.7
|-
| Zephyr
| "
| Zephyr
| "
| "
| Zephyr
| Zephyr
| 1050
| style="text-align:right;" | (c) 17.5
|}

== References ==
<references />

Wurlitzer Chest Repetition Speeds

2025-09-16T21:47:11Z

GabrielPeressini: /* Summary */

The following is a letter which first appeared in the March/April 1984 issue of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 26, no. 2, January/February 1984, p. 53. [https://www.atos.org/journal/issue/26/2]</ref>

The issue has been raised on page 21 of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 25, no. 5, September/October 1983, p. 21. [https://www.atos.org/journal/issue/25/5]</ref>, September/October 1983, about the speed of electro-pneumatic action. The subject has been discussed for many years without positive conclusions published. A few years ago my partner, Bob Jacobus, and I were visiting Roy Emison in Kansas City, Kansas. During a happy three-day visit this subject came up and as a result Roy agreed to set up the necessary test equipment to research the subject and try to establish conclusions based on reasonably accurate test procedures. On a subsequent visit, we three reviewed the test equipment and procedures that Roy had set up, and the results he obtained. We ran through the series of tests selecting at random to double-check Roy's findings. We all agreed that the results were as accurate as the testing equipment could produce.

The equipment used was:
# Strobotac stroboscopic tachometer used to measure speed without drag on the action;
# Stewart-Warner magnetic speed indicator;
# Veeder counter used for checking;
# Facsimile of a Wurlitzer relay and chest built to scale by Roy from measurements taken from his residence-installed Wurlitzer, Style 260, Opus 1173, originally installed in the Newman Theatre, Kansas City, Missouri; and
# A Wurlitzer Open Diapason pipe, G# number 33 on the 8' scale. It was chosen being near the middle of the compass and for its promptness of speed, a middle-of-the-road choice.

Wind was supplied to the facsimile relay and chest at 10" pressure from he organ blower, a 10-hp Orgoblo. Temperature was controlled at 68° Fahrenheit. Very thin Brown leather
and Zephyr skin was used to cover the pneumatics. The facsimile chest and relay were built with a side window for observation purposes.

The following input was important to the test results:
# Relay contact bar was set to travel ¹⁄₁₆" (¹⁄₃₂" open, ¹⁄₃₂" closed);
# Slack in the secondary chest pneumatic was made by cutting the flex material oversize to allow for ⁷⁄₆₄" travel of the striker felt before it hit the valve arm spoon; and
# Magnetic travel of the magnet armature was set at ¹⁄₃₂" using a Wurlitzer Brass Plug magnet.

==Observations==
The speeds shown on the chart were an average of several readings. It was discovered that the complete relay (both primary and secondary pneumatics) continued to operate after action had ceased on the pipe valve, and continued to operate up to 1700 cycles/minute (28.3 cycles/second), the top limit of the test equipment. As a possible reference point, the speed of a Xylophone hammer was measured up to 700 cy/min (11.7 cy/sec). Bypassing its reiterating contact allowed it to be accelerated up to 800 cy/min (13.3 cy/sec) before it faded out. The term "faded out" refers to the failure of an action to follow the speed of the input. It was observed that the speed of the action (key contact through relay and chest) may be increased from 680 cy/min (11.3 cy/sec) to 1050 cy/min (17.5 cy/sec) (approximately 50%) by changing adjustments and pneumatic covering material. This fact emphasized the importance of correct adjustments for maximum performance.

==Comments==
A Wurlitzer relay/chest combination operates faster when ultimate adjustments obtain and when pneumatics are covered with Zephyr skin. However, the time elapse difference is minimal (1.5 cy/sec).

==Summary==
The fastest reiterating speed obtained by the pipe pallet valve in the chest, figure ([[#pointA|a]]) on the chart, was 1150 cy/min (19.2 cy/sec). This was obtained by bypassing the relay with electrical input directly to the chest magnet. Zephyr skin was used on the primary and secondary pneumatics, with travel adjustments as noted.
The fastest reiterating speed using brown leather on the pneumatics was figure ([[#pointB|b]]) on the chart, i.e., 1050 cy/min (17.5 cy/sec). This finding definitely proves that Zephyr skin-covered pneumatics are faster. However, the time elapse difference is minimal, i.e., 1.5 cy/sec.
Including the relay in the circuit produced the results as shown at figures ([[#pointC|c]]) and ([[#pointD|d]]). The time elapse difference is now much more significant, i.e., 4.2 cy/sec. This greater differ- ence reflects the operation time of the relay pneumatics and travel adjustments. It should also be noted that a combination of Zephyr and Brown leather in the pneumatic circuit increased the speed somewhat over that obtained using only Brown leather.
The question raised by the above-listed findings would naturally be the apparent result to an organist. With the assistance of Mr. Gordon Kibbee, noted organist and organ consultant, it was determined by tests he made that a manual key could be played at a Speed of 20 cy/sec, which extends to 1200 cy/min. This figure was obtained using two fingers, one on each hand, striking the same key. Using one finger only, the result was between 16 and 17 cy/sec. The differ- ences between the above and the relay/chest action results indicate a loose relationship between the demands of a competent organist and he response of the organ action.

{| class="wikitable" style="text-align:center;"
|- style="font-weight:bold;"
! colspan="9" | Reiteration Speeds of Wurlitzer Standard Relay and Chest
|-
| colspan="5" | Chest
| colspan="2" | Relay
| colspan="2" | Maximum Speed
|-
| colspan="2" | Primary
| colspan="3" | Secondary
| Primary
| Secondary
| colspan="2" style="text-align:left;" |
|-
| Pneumatic Material
| Valve Travel
| Pneumatic Material
| Valve Travel
| Pneumatic Slack
| colspan="2" | Pneumatic Material
| style="font-style:italic;" | (cy/min)
| style="font-style:italic;" | (cy/sec)
|-
| Br. L
| ¹⁄₃₂"
| Br. L
| ¹⁷⁄₆₄"
| ¹⁄₃₂"
| colspan="2" style="font-style:italic;" | Relay By-passed
| 790
| style="text-align:right;" | (b) 13.1
|-
| Br. L
| "
| Br. L
| ⁵⁄₃₂"
| "
| colspan="2" | "
| 1000
| style="text-align:right;" | 17.7
|-
| Br. L
| "
| Br. L
| "
| ⁷⁄₆₄"
| colspan="2" | "
| 960
| style="text-align:right;" | 16.0
|-
| Br. L
| "
| Zephyr
| "
| ¹⁄₃₂"
| colspan="2" | "
| 1050
| style="text-align:right;" | 17.5
|-
| Br. L
| ¹⁄₁₆"
| Zephyr
| "
| "
| colspan="2" | "
| 1030
| style="text-align:right;" | 17.2
|-
| Zephyr
| ¹⁄₃₂"
| Zephyr
| "
| "
| colspan="2" | "
| 1150
| style="text-align:right;" | (a) 19.2
|-
| Br. L
| ¹⁄₃₂"
| Br. L
| ¹⁷⁄₆₄"
| ¹⁄₃₂"
| Br. L
| Br. L
| 680
| style="text-align:right;" | 11.3
|-
| Br. L
| "
| Br. L
| ⁵⁄₃₂"
| "
| Br. L
| Br. L
| 800
| style="text-align:right;" | (d) 13.3
|-
| Br. L
| "
| Br. L
| "
| ¹⁷⁄₆₄"
| Br. L
| Br. L
| 770
| style="text-align:right;" | 12.8
|-
| Br. L
| ¹⁄₁₆"
| Zephyr
| "
| ¹⁄₃₂"
| Br. L
| Br. L
| 810
| style="text-align:right;" | 13.5
|-
| Br. L
| ¹⁄₃₂"
| Zephyr
| "
| "
| Br. L
| Br. L
| 830
| style="text-align:right;" | 13.8
|-
| Zephyr
| "
| Zephyr
| "
| "
| Br. L
| Br. L
| 980
| style="text-align:right;" | 16.3
|-
| Zephyr
| "
| Zephyr
| "
| "
| Zephyr
| Br. L
| 1000
| style="text-align:right;" | 16.7
|-
| Zephyr
| "
| Zephyr
| "
| "
| Zephyr
| Zephyr
| 1050
| style="text-align:right;" | (c) 17.5
|}

== References ==
<references />

Wurlitzer Chest Repetition Speeds

2025-09-16T21:46:35Z

GabrielPeressini: /* Summary */

Wurlitzer Chest Repetition Speeds

2025-09-16T21:46:23Z

GabrielPeressini: /* Summary */

The following is a letter which first appeared in the March/April 1984 issue of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 26, no. 2, January/February 1984, p. 53. [https://www.atos.org/journal/issue/26/2]</ref>

The issue has been raised on page 21 of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 25, no. 5, September/October 1983, p. 21. [https://www.atos.org/journal/issue/25/5]</ref>, September/October 1983, about the speed of electro-pneumatic action. The subject has been discussed for many years without positive conclusions published. A few years ago my partner, Bob Jacobus, and I were visiting Roy Emison in Kansas City, Kansas. During a happy three-day visit this subject came up and as a result Roy agreed to set up the necessary test equipment to research the subject and try to establish conclusions based on reasonably accurate test procedures. On a subsequent visit, we three reviewed the test equipment and procedures that Roy had set up, and the results he obtained. We ran through the series of tests selecting at random to double-check Roy's findings. We all agreed that the results were as accurate as the testing equipment could produce.

The equipment used was:
# Strobotac stroboscopic tachometer used to measure speed without drag on the action;
# Stewart-Warner magnetic speed indicator;
# Veeder counter used for checking;
# Facsimile of a Wurlitzer relay and chest built to scale by Roy from measurements taken from his residence-installed Wurlitzer, Style 260, Opus 1173, originally installed in the Newman Theatre, Kansas City, Missouri; and
# A Wurlitzer Open Diapason pipe, G# number 33 on the 8' scale. It was chosen being near the middle of the compass and for its promptness of speed, a middle-of-the-road choice.

Wind was supplied to the facsimile relay and chest at 10" pressure from he organ blower, a 10-hp Orgoblo. Temperature was controlled at 68° Fahrenheit. Very thin Brown leather
and Zephyr skin was used to cover the pneumatics. The facsimile chest and relay were built with a side window for observation purposes.

The following input was important to the test results:
# Relay contact bar was set to travel ¹⁄₁₆" (¹⁄₃₂" open, ¹⁄₃₂" closed);
# Slack in the secondary chest pneumatic was made by cutting the flex material oversize to allow for ⁷⁄₆₄" travel of the striker felt before it hit the valve arm spoon; and
# Magnetic travel of the magnet armature was set at ¹⁄₃₂" using a Wurlitzer Brass Plug magnet.

==Observations==
The speeds shown on the chart were an average of several readings. It was discovered that the complete relay (both primary and secondary pneumatics) continued to operate after action had ceased on the pipe valve, and continued to operate up to 1700 cycles/minute (28.3 cycles/second), the top limit of the test equipment. As a possible reference point, the speed of a Xylophone hammer was measured up to 700 cy/min (11.7 cy/sec). Bypassing its reiterating contact allowed it to be accelerated up to 800 cy/min (13.3 cy/sec) before it faded out. The term "faded out" refers to the failure of an action to follow the speed of the input. It was observed that the speed of the action (key contact through relay and chest) may be increased from 680 cy/min (11.3 cy/sec) to 1050 cy/min (17.5 cy/sec) (approximately 50%) by changing adjustments and pneumatic covering material. This fact emphasized the importance of correct adjustments for maximum performance.

==Comments==
A Wurlitzer relay/chest combination operates faster when ultimate adjustments obtain and when pneumatics are covered with Zephyr skin. However, the time elapse difference is minimal (1.5 cy/sec).

==Summary==
The fastest reiterating speed obtained by the pipe pallet valve in the chest, figure ([[#pointA|A]]) on the chart, was 1150 cy/min (19.2 cy/sec). This was obtained by bypassing the relay with electrical input directly to the chest magnet. Zephyr skin was used on the primary and secondary pneumatics, with travel adjustments as noted.
The fastest reiterating speed using brown leather on the pneumatics was figure ([[#pointB|b]]) on the chart, i.e., 1050 cy/min (17.5 cy/sec). This finding definitely proves that Zephyr skin-covered pneumatics are faster. However, the time elapse difference is minimal, i.e., 1.5 cy/sec.
Including the relay in the circuit produced the results as shown at figures ([[#pointC|c]]) and ([[#pointD|d]]). The time elapse difference is now much more significant, i.e., 4.2 cy/sec. This greater differ- ence reflects the operation time of the relay pneumatics and travel adjustments. It should also be noted that a combination of Zephyr and Brown leather in the pneumatic circuit increased the speed somewhat over that obtained using only Brown leather.
The question raised by the above-listed findings would naturally be the apparent result to an organist. With the assistance of Mr. Gordon Kibbee, noted organist and organ consultant, it was determined by tests he made that a manual key could be played at a Speed of 20 cy/sec, which extends to 1200 cy/min. This figure was obtained using two fingers, one on each hand, striking the same key. Using one finger only, the result was between 16 and 17 cy/sec. The differ- ences between the above and the relay/chest action results indicate a loose relationship between the demands of a competent organist and he response of the organ action.

{| class="wikitable" style="text-align:center;"
|- style="font-weight:bold;"
! colspan="9" | Reiteration Speeds of Wurlitzer Standard Relay and Chest
|-
| colspan="5" | Chest
| colspan="2" | Relay
| colspan="2" | Maximum Speed
|-
| colspan="2" | Primary
| colspan="3" | Secondary
| Primary
| Secondary
| colspan="2" style="text-align:left;" |
|-
| Pneumatic Material
| Valve Travel
| Pneumatic Material
| Valve Travel
| Pneumatic Slack
| colspan="2" | Pneumatic Material
| style="font-style:italic;" | (cy/min)
| style="font-style:italic;" | (cy/sec)
|-
| Br. L
| ¹⁄₃₂"
| Br. L
| ¹⁷⁄₆₄"
| ¹⁄₃₂"
| colspan="2" style="font-style:italic;" | Relay By-passed
| 790
| style="text-align:right;" | (b) 13.1
|-
| Br. L
| "
| Br. L
| ⁵⁄₃₂"
| "
| colspan="2" | "
| 1000
| style="text-align:right;" | 17.7
|-
| Br. L
| "
| Br. L
| "
| ⁷⁄₆₄"
| colspan="2" | "
| 960
| style="text-align:right;" | 16.0
|-
| Br. L
| "
| Zephyr
| "
| ¹⁄₃₂"
| colspan="2" | "
| 1050
| style="text-align:right;" | 17.5
|-
| Br. L
| ¹⁄₁₆"
| Zephyr
| "
| "
| colspan="2" | "
| 1030
| style="text-align:right;" | 17.2
|-
| Zephyr
| ¹⁄₃₂"
| Zephyr
| "
| "
| colspan="2" | "
| 1150
| style="text-align:right;" | (a) 19.2
|-
| Br. L
| ¹⁄₃₂"
| Br. L
| ¹⁷⁄₆₄"
| ¹⁄₃₂"
| Br. L
| Br. L
| 680
| style="text-align:right;" | 11.3
|-
| Br. L
| "
| Br. L
| ⁵⁄₃₂"
| "
| Br. L
| Br. L
| 800
| style="text-align:right;" | (d) 13.3
|-
| Br. L
| "
| Br. L
| "
| ¹⁷⁄₆₄"
| Br. L
| Br. L
| 770
| style="text-align:right;" | 12.8
|-
| Br. L
| ¹⁄₁₆"
| Zephyr
| "
| ¹⁄₃₂"
| Br. L
| Br. L
| 810
| style="text-align:right;" | 13.5
|-
| Br. L
| ¹⁄₃₂"
| Zephyr
| "
| "
| Br. L
| Br. L
| 830
| style="text-align:right;" | 13.8
|-
| Zephyr
| "
| Zephyr
| "
| "
| Br. L
| Br. L
| 980
| style="text-align:right;" | 16.3
|-
| Zephyr
| "
| Zephyr
| "
| "
| Zephyr
| Br. L
| 1000
| style="text-align:right;" | 16.7
|-
| Zephyr
| "
| Zephyr
| "
| "
| Zephyr
| Zephyr
| 1050
| style="text-align:right;" | (c) 17.5
|}

Judd Walton Vallejo, California

== References ==
<references />

Wurlitzer Chest Repetition Speeds

2025-09-16T21:45:44Z

GabrielPeressini: /* Summary */

The following is a letter which first appeared in the March/April 1984 issue of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 26, no. 2, January/February 1984, p. 53. [https://www.atos.org/journal/issue/26/2]</ref>

The issue has been raised on page 21 of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 25, no. 5, September/October 1983, p. 21. [https://www.atos.org/journal/issue/25/5]</ref>, September/October 1983, about the speed of electro-pneumatic action. The subject has been discussed for many years without positive conclusions published. A few years ago my partner, Bob Jacobus, and I were visiting Roy Emison in Kansas City, Kansas. During a happy three-day visit this subject came up and as a result Roy agreed to set up the necessary test equipment to research the subject and try to establish conclusions based on reasonably accurate test procedures. On a subsequent visit, we three reviewed the test equipment and procedures that Roy had set up, and the results he obtained. We ran through the series of tests selecting at random to double-check Roy's findings. We all agreed that the results were as accurate as the testing equipment could produce.

The equipment used was:
# Strobotac stroboscopic tachometer used to measure speed without drag on the action;
# Stewart-Warner magnetic speed indicator;
# Veeder counter used for checking;
# Facsimile of a Wurlitzer relay and chest built to scale by Roy from measurements taken from his residence-installed Wurlitzer, Style 260, Opus 1173, originally installed in the Newman Theatre, Kansas City, Missouri; and
# A Wurlitzer Open Diapason pipe, G# number 33 on the 8' scale. It was chosen being near the middle of the compass and for its promptness of speed, a middle-of-the-road choice.

Wind was supplied to the facsimile relay and chest at 10" pressure from he organ blower, a 10-hp Orgoblo. Temperature was controlled at 68° Fahrenheit. Very thin Brown leather
and Zephyr skin was used to cover the pneumatics. The facsimile chest and relay were built with a side window for observation purposes.

The following input was important to the test results:
# Relay contact bar was set to travel ¹⁄₁₆" (¹⁄₃₂" open, ¹⁄₃₂" closed);
# Slack in the secondary chest pneumatic was made by cutting the flex material oversize to allow for ⁷⁄₆₄" travel of the striker felt before it hit the valve arm spoon; and
# Magnetic travel of the magnet armature was set at ¹⁄₃₂" using a Wurlitzer Brass Plug magnet.

==Observations==
The speeds shown on the chart were an average of several readings. It was discovered that the complete relay (both primary and secondary pneumatics) continued to operate after action had ceased on the pipe valve, and continued to operate up to 1700 cycles/minute (28.3 cycles/second), the top limit of the test equipment. As a possible reference point, the speed of a Xylophone hammer was measured up to 700 cy/min (11.7 cy/sec). Bypassing its reiterating contact allowed it to be accelerated up to 800 cy/min (13.3 cy/sec) before it faded out. The term "faded out" refers to the failure of an action to follow the speed of the input. It was observed that the speed of the action (key contact through relay and chest) may be increased from 680 cy/min (11.3 cy/sec) to 1050 cy/min (17.5 cy/sec) (approximately 50%) by changing adjustments and pneumatic covering material. This fact emphasized the importance of correct adjustments for maximum performance.

==Comments==
A Wurlitzer relay/chest combination operates faster when ultimate adjustments obtain and when pneumatics are covered with Zephyr skin. However, the time elapse difference is minimal (1.5 cy/sec).

==Summary==
The fastest reiterating speed obtained by the pipe pallet valve in the chest, figure (a) on the chart, was 1150 cy/min (19.2 cy/sec). This was obtained by bypassing the relay with electrical input directly to the chest magnet. Zephyr skin was used on the primary and secondary pneumatics, with travel adjustments as noted.
The fastest reiterating speed using brown leather on the pneumatics was figure (b) on the chart, i.e., 1050 cy/min (17.5 cy/sec). This finding definitely proves that Zephyr skin-covered pneumatics are faster. However, the time elapse difference is minimal, i.e., 1.5 cy/sec.
Including the relay in the circuit produced the results as shown at figures ([[#pointC|c]]) and ([[#pointD|d]]). The time elapse difference is now much more significant, i.e., 4.2 cy/sec. This greater differ- ence reflects the operation time of the relay pneumatics and travel adjustments. It should also be noted that a combination of Zephyr and Brown leather in the pneumatic circuit increased the speed somewhat over that obtained using only Brown leather.
The question raised by the above-listed findings would naturally be the apparent result to an organist. With the assistance of Mr. Gordon Kibbee, noted organist and organ consultant, it was determined by tests he made that a manual key could be played at a Speed of 20 cy/sec, which extends to 1200 cy/min. This figure was obtained using two fingers, one on each hand, striking the same key. Using one finger only, the result was between 16 and 17 cy/sec. The differ- ences between the above and the relay/chest action results indicate a loose relationship between the demands of a competent organist and he response of the organ action.

{| class="wikitable" style="text-align:center;"
|- style="font-weight:bold;"
! colspan="9" | Reiteration Speeds of Wurlitzer Standard Relay and Chest
|-
| colspan="5" | Chest
| colspan="2" | Relay
| colspan="2" | Maximum Speed
|-
| colspan="2" | Primary
| colspan="3" | Secondary
| Primary
| Secondary
| colspan="2" style="text-align:left;" |
|-
| Pneumatic Material
| Valve Travel
| Pneumatic Material
| Valve Travel
| Pneumatic Slack
| colspan="2" | Pneumatic Material
| style="font-style:italic;" | (cy/min)
| style="font-style:italic;" | (cy/sec)
|-
| Br. L
| ¹⁄₃₂"
| Br. L
| ¹⁷⁄₆₄"
| ¹⁄₃₂"
| colspan="2" style="font-style:italic;" | Relay By-passed
| 790
| style="text-align:right;" | (b) 13.1
|-
| Br. L
| "
| Br. L
| ⁵⁄₃₂"
| "
| colspan="2" | "
| 1000
| style="text-align:right;" | 17.7
|-
| Br. L
| "
| Br. L
| "
| ⁷⁄₆₄"
| colspan="2" | "
| 960
| style="text-align:right;" | 16.0
|-
| Br. L
| "
| Zephyr
| "
| ¹⁄₃₂"
| colspan="2" | "
| 1050
| style="text-align:right;" | 17.5
|-
| Br. L
| ¹⁄₁₆"
| Zephyr
| "
| "
| colspan="2" | "
| 1030
| style="text-align:right;" | 17.2
|-
| Zephyr
| ¹⁄₃₂"
| Zephyr
| "
| "
| colspan="2" | "
| 1150
| style="text-align:right;" | (a) 19.2
|-
| Br. L
| ¹⁄₃₂"
| Br. L
| ¹⁷⁄₆₄"
| ¹⁄₃₂"
| Br. L
| Br. L
| 680
| style="text-align:right;" | 11.3
|-
| Br. L
| "
| Br. L
| ⁵⁄₃₂"
| "
| Br. L
| Br. L
| 800
| style="text-align:right;" | (d) 13.3
|-
| Br. L
| "
| Br. L
| "
| ¹⁷⁄₆₄"
| Br. L
| Br. L
| 770
| style="text-align:right;" | 12.8
|-
| Br. L
| ¹⁄₁₆"
| Zephyr
| "
| ¹⁄₃₂"
| Br. L
| Br. L
| 810
| style="text-align:right;" | 13.5
|-
| Br. L
| ¹⁄₃₂"
| Zephyr
| "
| "
| Br. L
| Br. L
| 830
| style="text-align:right;" | 13.8
|-
| Zephyr
| "
| Zephyr
| "
| "
| Br. L
| Br. L
| 980
| style="text-align:right;" | 16.3
|-
| Zephyr
| "
| Zephyr
| "
| "
| Zephyr
| Br. L
| 1000
| style="text-align:right;" | 16.7
|-
| Zephyr
| "
| Zephyr
| "
| "
| Zephyr
| Zephyr
| 1050
| style="text-align:right;" | (c) 17.5
|}

Judd Walton Vallejo, California

== References ==
<references />

Wurlitzer Chest Repetition Speeds

2025-09-16T21:44:53Z

GabrielPeressini: /* Summary */

The following is a letter which first appeared in the March/April 1984 issue of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 26, no. 2, January/February 1984, p. 53. [https://www.atos.org/journal/issue/26/2]</ref>

The issue has been raised on page 21 of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 25, no. 5, September/October 1983, p. 21. [https://www.atos.org/journal/issue/25/5]</ref>, September/October 1983, about the speed of electro-pneumatic action. The subject has been discussed for many years without positive conclusions published. A few years ago my partner, Bob Jacobus, and I were visiting Roy Emison in Kansas City, Kansas. During a happy three-day visit this subject came up and as a result Roy agreed to set up the necessary test equipment to research the subject and try to establish conclusions based on reasonably accurate test procedures. On a subsequent visit, we three reviewed the test equipment and procedures that Roy had set up, and the results he obtained. We ran through the series of tests selecting at random to double-check Roy's findings. We all agreed that the results were as accurate as the testing equipment could produce.

The equipment used was:
# Strobotac stroboscopic tachometer used to measure speed without drag on the action;
# Stewart-Warner magnetic speed indicator;
# Veeder counter used for checking;
# Facsimile of a Wurlitzer relay and chest built to scale by Roy from measurements taken from his residence-installed Wurlitzer, Style 260, Opus 1173, originally installed in the Newman Theatre, Kansas City, Missouri; and
# A Wurlitzer Open Diapason pipe, G# number 33 on the 8' scale. It was chosen being near the middle of the compass and for its promptness of speed, a middle-of-the-road choice.

Wind was supplied to the facsimile relay and chest at 10" pressure from he organ blower, a 10-hp Orgoblo. Temperature was controlled at 68° Fahrenheit. Very thin Brown leather
and Zephyr skin was used to cover the pneumatics. The facsimile chest and relay were built with a side window for observation purposes.

The following input was important to the test results:
# Relay contact bar was set to travel ¹⁄₁₆" (¹⁄₃₂" open, ¹⁄₃₂" closed);
# Slack in the secondary chest pneumatic was made by cutting the flex material oversize to allow for ⁷⁄₆₄" travel of the striker felt before it hit the valve arm spoon; and
# Magnetic travel of the magnet armature was set at ¹⁄₃₂" using a Wurlitzer Brass Plug magnet.

==Observations==
The speeds shown on the chart were an average of several readings. It was discovered that the complete relay (both primary and secondary pneumatics) continued to operate after action had ceased on the pipe valve, and continued to operate up to 1700 cycles/minute (28.3 cycles/second), the top limit of the test equipment. As a possible reference point, the speed of a Xylophone hammer was measured up to 700 cy/min (11.7 cy/sec). Bypassing its reiterating contact allowed it to be accelerated up to 800 cy/min (13.3 cy/sec) before it faded out. The term "faded out" refers to the failure of an action to follow the speed of the input. It was observed that the speed of the action (key contact through relay and chest) may be increased from 680 cy/min (11.3 cy/sec) to 1050 cy/min (17.5 cy/sec) (approximately 50%) by changing adjustments and pneumatic covering material. This fact emphasized the importance of correct adjustments for maximum performance.

==Comments==
A Wurlitzer relay/chest combination operates faster when ultimate adjustments obtain and when pneumatics are covered with Zephyr skin. However, the time elapse difference is minimal (1.5 cy/sec).

==Summary==
The fastest reiterating speed obtained by the pipe pallet valve in the chest, figure (a) on the chart, was 1150 cy/min (19.2 cy/sec). This was obtained by bypassing the relay with electrical input directly to the chest magnet. Zephyr skin was used on the primary and secondary pneumatics, with travel adjustments as noted.
The fastest reiterating speed using brown leather on the pneumatics was figure (b) on the chart, i.e., 1050 cy/min (17.5 cy/sec). This finding definitely proves that Zephyr skin-covered pneumatics are faster. However, the time elapse difference is minimal, i.e., 1.5 cy/sec.
Including the relay in the circuit produced the results as shown at figures ([[#PointC|c]]) and ([[#PointD|d]]). The time elapse difference is now much more significant, i.e., 4.2 cy/sec. This greater differ- ence reflects the operation time of the relay pneumatics and travel adjustments. It should also be noted that a combination of Zephyr and Brown leather in the pneumatic circuit increased the speed somewhat over that obtained using only Brown leather.
The question raised by the above-listed findings would naturally be the apparent result to an organist. With the assistance of Mr. Gordon Kibbee, noted organist and organ consultant, it was determined by tests he made that a manual key could be played at a Speed of 20 cy/sec, which extends to 1200 cy/min. This figure was obtained using two fingers, one on each hand, striking the same key. Using one finger only, the result was between 16 and 17 cy/sec. The differ- ences between the above and the relay/chest action results indicate a loose relationship between the demands of a competent organist and he response of the organ action.

{| class="wikitable" style="text-align:center;"
|- style="font-weight:bold;"
! colspan="9" | Reiteration Speeds of Wurlitzer Standard Relay and Chest
|-
| colspan="5" | Chest
| colspan="2" | Relay
| colspan="2" | Maximum Speed
|-
| colspan="2" | Primary
| colspan="3" | Secondary
| Primary
| Secondary
| colspan="2" style="text-align:left;" |
|-
| Pneumatic Material
| Valve Travel
| Pneumatic Material
| Valve Travel
| Pneumatic Slack
| colspan="2" | Pneumatic Material
| style="font-style:italic;" | (cy/min)
| style="font-style:italic;" | (cy/sec)
|-
| Br. L
| ¹⁄₃₂"
| Br. L
| ¹⁷⁄₆₄"
| ¹⁄₃₂"
| colspan="2" style="font-style:italic;" | Relay By-passed
| 790
| style="text-align:right;" | (b) 13.1
|-
| Br. L
| "
| Br. L
| ⁵⁄₃₂"
| "
| colspan="2" | "
| 1000
| style="text-align:right;" | 17.7
|-
| Br. L
| "
| Br. L
| "
| ⁷⁄₆₄"
| colspan="2" | "
| 960
| style="text-align:right;" | 16.0
|-
| Br. L
| "
| Zephyr
| "
| ¹⁄₃₂"
| colspan="2" | "
| 1050
| style="text-align:right;" | 17.5
|-
| Br. L
| ¹⁄₁₆"
| Zephyr
| "
| "
| colspan="2" | "
| 1030
| style="text-align:right;" | 17.2
|-
| Zephyr
| ¹⁄₃₂"
| Zephyr
| "
| "
| colspan="2" | "
| 1150
| style="text-align:right;" | (a) 19.2
|-
| Br. L
| ¹⁄₃₂"
| Br. L
| ¹⁷⁄₆₄"
| ¹⁄₃₂"
| Br. L
| Br. L
| 680
| style="text-align:right;" | 11.3
|-
| Br. L
| "
| Br. L
| ⁵⁄₃₂"
| "
| Br. L
| Br. L
| 800
| style="text-align:right;" | (d) 13.3
|-
| Br. L
| "
| Br. L
| "
| ¹⁷⁄₆₄"
| Br. L
| Br. L
| 770
| style="text-align:right;" | 12.8
|-
| Br. L
| ¹⁄₁₆"
| Zephyr
| "
| ¹⁄₃₂"
| Br. L
| Br. L
| 810
| style="text-align:right;" | 13.5
|-
| Br. L
| ¹⁄₃₂"
| Zephyr
| "
| "
| Br. L
| Br. L
| 830
| style="text-align:right;" | 13.8
|-
| Zephyr
| "
| Zephyr
| "
| "
| Br. L
| Br. L
| 980
| style="text-align:right;" | 16.3
|-
| Zephyr
| "
| Zephyr
| "
| "
| Zephyr
| Br. L
| 1000
| style="text-align:right;" | 16.7
|-
| Zephyr
| "
| Zephyr
| "
| "
| Zephyr
| Zephyr
| 1050
| style="text-align:right;" | (c) 17.5
|}

Judd Walton Vallejo, California

== References ==
<references />

Wurlitzer Chest Repetition Speeds

2025-09-16T21:43:43Z

GabrielPeressini: /* Summary */

The following is a letter which first appeared in the March/April 1984 issue of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 26, no. 2, January/February 1984, p. 53. [https://www.atos.org/journal/issue/26/2]</ref>

The issue has been raised on page 21 of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 25, no. 5, September/October 1983, p. 21. [https://www.atos.org/journal/issue/25/5]</ref>, September/October 1983, about the speed of electro-pneumatic action. The subject has been discussed for many years without positive conclusions published. A few years ago my partner, Bob Jacobus, and I were visiting Roy Emison in Kansas City, Kansas. During a happy three-day visit this subject came up and as a result Roy agreed to set up the necessary test equipment to research the subject and try to establish conclusions based on reasonably accurate test procedures. On a subsequent visit, we three reviewed the test equipment and procedures that Roy had set up, and the results he obtained. We ran through the series of tests selecting at random to double-check Roy's findings. We all agreed that the results were as accurate as the testing equipment could produce.

The equipment used was:
# Strobotac stroboscopic tachometer used to measure speed without drag on the action;
# Stewart-Warner magnetic speed indicator;
# Veeder counter used for checking;
# Facsimile of a Wurlitzer relay and chest built to scale by Roy from measurements taken from his residence-installed Wurlitzer, Style 260, Opus 1173, originally installed in the Newman Theatre, Kansas City, Missouri; and
# A Wurlitzer Open Diapason pipe, G# number 33 on the 8' scale. It was chosen being near the middle of the compass and for its promptness of speed, a middle-of-the-road choice.

Wind was supplied to the facsimile relay and chest at 10" pressure from he organ blower, a 10-hp Orgoblo. Temperature was controlled at 68° Fahrenheit. Very thin Brown leather
and Zephyr skin was used to cover the pneumatics. The facsimile chest and relay were built with a side window for observation purposes.

The following input was important to the test results:
# Relay contact bar was set to travel ¹⁄₁₆" (¹⁄₃₂" open, ¹⁄₃₂" closed);
# Slack in the secondary chest pneumatic was made by cutting the flex material oversize to allow for ⁷⁄₆₄" travel of the striker felt before it hit the valve arm spoon; and
# Magnetic travel of the magnet armature was set at ¹⁄₃₂" using a Wurlitzer Brass Plug magnet.

==Observations==
The speeds shown on the chart were an average of several readings. It was discovered that the complete relay (both primary and secondary pneumatics) continued to operate after action had ceased on the pipe valve, and continued to operate up to 1700 cycles/minute (28.3 cycles/second), the top limit of the test equipment. As a possible reference point, the speed of a Xylophone hammer was measured up to 700 cy/min (11.7 cy/sec). Bypassing its reiterating contact allowed it to be accelerated up to 800 cy/min (13.3 cy/sec) before it faded out. The term "faded out" refers to the failure of an action to follow the speed of the input. It was observed that the speed of the action (key contact through relay and chest) may be increased from 680 cy/min (11.3 cy/sec) to 1050 cy/min (17.5 cy/sec) (approximately 50%) by changing adjustments and pneumatic covering material. This fact emphasized the importance of correct adjustments for maximum performance.

==Comments==
A Wurlitzer relay/chest combination operates faster when ultimate adjustments obtain and when pneumatics are covered with Zephyr skin. However, the time elapse difference is minimal (1.5 cy/sec).

==Summary==
The fastest reiterating speed obtained by the pipe pallet valve in the chest, figure (a) on the chart, was 1150 cy/min (19.2 cy/sec). This was obtained by bypassing the relay with electrical input directly to the chest magnet. Zephyr skin was used on the primary and secondary pneumatics, with travel adjustments as noted.
The fastest reiterating speed using brown leather on the pneumatics was figure (b) on the chart, i.e., 1050 cy/min (17.5 cy/sec). This finding definitely proves that Zephyr skin-covered pneumatics are faster. However, the time elapse difference is minimal, i.e., 1.5 cy/sec.
Including the relay in the circuit produced the results as shown at figures (c) and (d). The time elapse difference is now much more significant, i.e., 4.2 cy/sec. This greater differ- ence reflects the operation time of the relay pneumatics and travel adjustments. It should also be noted that a combination of Zephyr and Brown leather in the pneumatic circuit increased the speed somewhat over that obtained using only Brown leather.
The question raised by the above-listed findings would naturally be the apparent result to an organist. With the assistance of Mr. Gordon Kibbee, noted organist and organ consultant, it was determined by tests he made that a manual key could be played at a Speed of 20 cy/sec, which extends to 1200 cy/min. This figure was obtained using two fingers, one on each hand, striking the same key. Using one finger only, the result was between 16 and 17 cy/sec. The differ- ences between the above and the relay/chest action results indicate a loose relationship between the demands of a competent organist and he response of the organ action.

{| class="wikitable" style="text-align:center;"
|- style="font-weight:bold;"
! colspan="9" | Reiteration Speeds of Wurlitzer Standard Relay and Chest
|-
| colspan="5" | Chest
| colspan="2" | Relay
| colspan="2" | Maximum Speed
|-
| colspan="2" | Primary
| colspan="3" | Secondary
| Primary
| Secondary
| colspan="2" style="text-align:left;" |
|-
| Pneumatic Material
| Valve Travel
| Pneumatic Material
| Valve Travel
| Pneumatic Slack
| colspan="2" | Pneumatic Material
| style="font-style:italic;" | (cy/min)
| style="font-style:italic;" | (cy/sec)
|-
| Br. L
| ¹⁄₃₂"
| Br. L
| ¹⁷⁄₆₄"
| ¹⁄₃₂"
| colspan="2" style="font-style:italic;" | Relay By-passed
| 790
| style="text-align:right;" | (b) 13.1
|-
| Br. L
| "
| Br. L
| ⁵⁄₃₂"
| "
| colspan="2" | "
| 1000
| style="text-align:right;" | 17.7
|-
| Br. L
| "
| Br. L
| "
| ⁷⁄₆₄"
| colspan="2" | "
| 960
| style="text-align:right;" | 16.0
|-
| Br. L
| "
| Zephyr
| "
| ¹⁄₃₂"
| colspan="2" | "
| 1050
| style="text-align:right;" | 17.5
|-
| Br. L
| ¹⁄₁₆"
| Zephyr
| "
| "
| colspan="2" | "
| 1030
| style="text-align:right;" | 17.2
|-
| Zephyr
| ¹⁄₃₂"
| Zephyr
| "
| "
| colspan="2" | "
| 1150
| style="text-align:right;" | (a) 19.2
|-
| Br. L
| ¹⁄₃₂"
| Br. L
| ¹⁷⁄₆₄"
| ¹⁄₃₂"
| Br. L
| Br. L
| 680
| style="text-align:right;" | 11.3
|-
| Br. L
| "
| Br. L
| ⁵⁄₃₂"
| "
| Br. L
| Br. L
| 800
| style="text-align:right;" | (d) 13.3
|-
| Br. L
| "
| Br. L
| "
| ¹⁷⁄₆₄"
| Br. L
| Br. L
| 770
| style="text-align:right;" | 12.8
|-
| Br. L
| ¹⁄₁₆"
| Zephyr
| "
| ¹⁄₃₂"
| Br. L
| Br. L
| 810
| style="text-align:right;" | 13.5
|-
| Br. L
| ¹⁄₃₂"
| Zephyr
| "
| "
| Br. L
| Br. L
| 830
| style="text-align:right;" | 13.8
|-
| Zephyr
| "
| Zephyr
| "
| "
| Br. L
| Br. L
| 980
| style="text-align:right;" | 16.3
|-
| Zephyr
| "
| Zephyr
| "
| "
| Zephyr
| Br. L
| 1000
| style="text-align:right;" | 16.7
|-
| Zephyr
| "
| Zephyr
| "
| "
| Zephyr
| Zephyr
| 1050
| style="text-align:right;" | (c) 17.5
|}

Judd Walton Vallejo, California

== References ==
<references />

Wurlitzer Chest Repetition Speeds

2025-09-16T21:40:28Z

GabrielPeressini:

The following is a letter which first appeared in the March/April 1984 issue of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 26, no. 2, January/February 1984, p. 53. [https://www.atos.org/journal/issue/26/2]</ref>

The issue has been raised on page 21 of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 25, no. 5, September/October 1983, p. 21. [https://www.atos.org/journal/issue/25/5]</ref>, September/October 1983, about the speed of electro-pneumatic action. The subject has been discussed for many years without positive conclusions published. A few years ago my partner, Bob Jacobus, and I were visiting Roy Emison in Kansas City, Kansas. During a happy three-day visit this subject came up and as a result Roy agreed to set up the necessary test equipment to research the subject and try to establish conclusions based on reasonably accurate test procedures. On a subsequent visit, we three reviewed the test equipment and procedures that Roy had set up, and the results he obtained. We ran through the series of tests selecting at random to double-check Roy's findings. We all agreed that the results were as accurate as the testing equipment could produce.

The equipment used was:
# Strobotac stroboscopic tachometer used to measure speed without drag on the action;
# Stewart-Warner magnetic speed indicator;
# Veeder counter used for checking;
# Facsimile of a Wurlitzer relay and chest built to scale by Roy from measurements taken from his residence-installed Wurlitzer, Style 260, Opus 1173, originally installed in the Newman Theatre, Kansas City, Missouri; and
# A Wurlitzer Open Diapason pipe, G# number 33 on the 8' scale. It was chosen being near the middle of the compass and for its promptness of speed, a middle-of-the-road choice.

Wind was supplied to the facsimile relay and chest at 10" pressure from he organ blower, a 10-hp Orgoblo. Temperature was controlled at 68° Fahrenheit. Very thin Brown leather
and Zephyr skin was used to cover the pneumatics. The facsimile chest and relay were built with a side window for observation purposes.

The following input was important to the test results:
# Relay contact bar was set to travel ¹⁄₁₆" (¹⁄₃₂" open, ¹⁄₃₂" closed);
# Slack in the secondary chest pneumatic was made by cutting the flex material oversize to allow for ⁷⁄₆₄" travel of the striker felt before it hit the valve arm spoon; and
# Magnetic travel of the magnet armature was set at ¹⁄₃₂" using a Wurlitzer Brass Plug magnet.

==Observations==
The speeds shown on the chart were an average of several readings. It was discovered that the complete relay (both primary and secondary pneumatics) continued to operate after action had ceased on the pipe valve, and continued to operate up to 1700 cycles/minute (28.3 cycles/second), the top limit of the test equipment. As a possible reference point, the speed of a Xylophone hammer was measured up to 700 cy/min (11.7 cy/sec). Bypassing its reiterating contact allowed it to be accelerated up to 800 cy/min (13.3 cy/sec) before it faded out. The term "faded out" refers to the failure of an action to follow the speed of the input. It was observed that the speed of the action (key contact through relay and chest) may be increased from 680 cy/min (11.3 cy/sec) to 1050 cy/min (17.5 cy/sec) (approximately 50%) by changing adjustments and pneumatic covering material. This fact emphasized the importance of correct adjustments for maximum performance.

==Comments==
A Wurlitzer relay/chest combination operates faster when ultimate adjustments obtain and when pneumatics are covered with Zephyr skin. However, the time elapse difference is minimal (1.5 cy/sec).

==Summary==
The fastest reiterating speed obtained by the pipe pallet valve in the chest, figure (a) on the chart, was 1150 cy/min (19.2 cy/sec). This was obtained by bypassing the relay with electrical input directly to the chest magnet. Zephyr skin was used on the primary and secondary pneumatics, with travel adjustments as noted.
The fastest reiterating speed using brown leather on the pneumatics was figure (b) on the chart, i.e., 1050 cy/min (17.5 cy/sec). This finding definitely proves that Zephyr skin-covered pneumatics are faster. However, the time elapse difference is minimal, i.e., 1.5 cy/sec.
Including the relay in the circuit produced the results as shown at figures (c) and (d). The time elapse difference is now much more significant, i.e., 4.2 cy/sec. This greater differ- ence reflects the operation time of the relay pneumatics and travel adjustments. It should also be noted that a combination of Zephyr and Brown leather in the pneumatic circuit increased the speed somewhat over that obtained using only Brown leather.
The question raised by the above-listed findings would naturally be the apparent result to an organist. With the assistance of Mr. Gordon Kibbee, noted organist and organ consultant, it was determined by tests he made that a manual key could be played at a Speed of 20 cy/sec, which extends to 1200 cy/min. This figure was obtained using two fingers, one on each hand, striking the same key. Using one finger only, the result was between 16 and 17 cy/sec. The differ- ences between the above and the relay/chest action results indicate a loose relationship between the demands of a competent organist and he response of the organ action.

{| class="wikitable" style="text-align:center;"
|- style="font-weight:bold;"
! colspan="9" | Reiteration Speeds of Wurlitzer Standard Relay and Chest
|-
| colspan="5" | Chest
| colspan="2" | Relay
| colspan="2" | Maximum Speed
|-
| colspan="2" | Primary
| colspan="3" | Secondary
| Primary
| Secondary
| colspan="2" style="text-align:left;" |
|-
| Pneumatic Material
| Valve Travel
| Pneumatic Material
| Valve Travel
| Pneumatic Slack
| colspan="2" | Pneumatic Material
| style="font-style:italic;" | (cy/min)
| style="font-style:italic;" | (cy/sec)
|-
| Br. L
| ¹⁄₃₂"
| Br. L
| ¹⁷⁄₆₄"
| ¹⁄₃₂"
| colspan="2" style="font-style:italic;" | Relay By-passed
| 790
| style="text-align:right;" | (b) 13.1
|-
| Br. L
| "
| Br. L
| ⁵⁄₃₂"
| "
| colspan="2" | "
| 1000
| style="text-align:right;" | 17.7
|-
| Br. L
| "
| Br. L
| "
| ⁷⁄₆₄"
| colspan="2" | "
| 960
| style="text-align:right;" | 16.0
|-
| Br. L
| "
| Zephyr
| "
| ¹⁄₃₂"
| colspan="2" | "
| 1050
| style="text-align:right;" | 17.5
|-
| Br. L
| ¹⁄₁₆"
| Zephyr
| "
| "
| colspan="2" | "
| 1030
| style="text-align:right;" | 17.2
|-
| Zephyr
| ¹⁄₃₂"
| Zephyr
| "
| "
| colspan="2" | "
| 1150
| style="text-align:right;" | (a) 19.2
|-
| Br. L
| ¹⁄₃₂"
| Br. L
| ¹⁷⁄₆₄"
| ¹⁄₃₂"
| Br. L
| Br. L
| 680
| style="text-align:right;" | 11.3
|-
| Br. L
| "
| Br. L
| ⁵⁄₃₂"
| "
| Br. L
| Br. L
| 800
| style="text-align:right;" | (d) 13.3
|-
| Br. L
| "
| Br. L
| "
| ¹⁷⁄₆₄"
| Br. L
| Br. L
| 770
| style="text-align:right;" | 12.8
|-
| Br. L
| ¹⁄₁₆"
| Zephyr
| "
| ¹⁄₃₂"
| Br. L
| Br. L
| 810
| style="text-align:right;" | 13.5
|-
| Br. L
| ¹⁄₃₂"
| Zephyr
| "
| "
| Br. L
| Br. L
| 830
| style="text-align:right;" | 13.8
|-
| Zephyr
| "
| Zephyr
| "
| "
| Br. L
| Br. L
| 980
| style="text-align:right;" | 16.3
|-
| Zephyr
| "
| Zephyr
| "
| "
| Zephyr
| Br. L
| 1000
| style="text-align:right;" | 16.7
|-
| Zephyr
| "
| Zephyr
| "
| "
| Zephyr
| Zephyr
| 1050
| style="text-align:right;" | (c) 17.5
|}

Judd Walton Vallejo, California

== References ==
<references />

Wurlitzer Chest Repetition Speeds

2025-09-16T21:39:12Z

GabrielPeressini:

The following is a letter which first appeared in the March/April 1984 issue of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 26, no. 2, January/February 1984, p. 53. [https://www.atos.org/journal/issue/26/2]</ref>

The issue has been raised on page 21 of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 25, no. 5, September/October 1983, p. 21. [https://www.atos.org/journal/issue/25/5]</ref>, September/October 1983, about the speed of electro-pneumatic action. The subject has been discussed for many years without positive conclusions published. A few years ago my partner, Bob Jacobus, and I were visiting Roy Emison in Kansas City, Kansas. During a happy three-day visit this subject came up and as a result Roy agreed to set up the necessary test equipment to research the subject and try to establish conclusions based on reasonably accurate test procedures. On a subsequent visit, we three reviewed the test equipment and procedures that Roy had set up, and the results he obtained. We ran through the series of tests selecting at random to double-check Roy's findings. We all agreed that the results were as accurate as the testing equipment could produce.

The equipment used was:
# (1) Strobotac stroboscopic tachometer used to measure speed without drag on the action;
#(2) Stewart-Warner magnetic speed indicator;
#(3) Veeder counter used for checking;
#(4) Facsimile of a Wurlitzer relay and chest built to scale by Roy from measurements taken from his residence-installed Wurlitzer, Style 260, Opus 1173, originally installed in the Newman Theatre, Kansas City, Missouri; and
#(5) a Wurlitzer Open Diapason pipe, G# number 33 on the 8' scale. It was chosen being near the middle of the compass and for its promptness of speed, a middle-of-the-road choice.

Wind was supplied to the facsimile relay and chest at 10" pressure from he organ blower, a 10-hp Orgoblo. Temperature was controlled at 68° Fahrenheit. Very thin Brown leather
and Zephyr skin was used to cover the pneumatics. The facsimile chest and relay were built with a side window for observation purposes.

The following input was important to the test results:
(1) Relay contact bar was set to travel ¹⁄₁₆" (¹⁄₃₂" open, ¹⁄₃₂" closed);
(2) Slack in the secondary chest pneumatic was made by cutting the flex material oversize to allow for ⁷⁄₆₄" travel of the striker felt before it hit the valve arm spoon; and (3) Magnetic travel of the magnet armature was set at ¹⁄₃₂" using a Wurlitzer Brass Plug magnet.

==Observations==
The speeds shown on the chart were an average of several readings. It was discovered that the complete relay (both primary and secondary pneumatics) continued to operate after action had ceased on the pipe valve, and continued to operate up to 1700 cycles/minute (28.3 cycles/second), the top limit of the test equipment. As a possible reference point, the speed of a Xylophone hammer was measured up to 700 cy/min (11.7 cy/sec). Bypassing its reiterating contact allowed it to be accelerated up to 800 cy/min (13.3 cy/sec) before it faded out. The term "faded out" refers to the failure of an action to follow the speed of the input. It was observed that the speed of the action (key contact through relay and chest) may be increased from 680 cy/min (11.3 cy/sec) to 1050 cy/min (17.5 cy/sec) (approximately 50%) by changing adjustments and pneumatic covering material. This fact emphasized the importance of correct adjustments for maximum performance.

==Comments==
A Wurlitzer relay/chest combination operates faster when ultimate adjustments obtain and when pneumatics are covered with Zephyr skin. However, the time elapse difference is minimal (1.5 cy/sec).

==Summary==
The fastest reiterating speed obtained by the pipe pallet valve in the chest, figure (a) on the chart, was 1150 cy/min (19.2 cy/sec). This was obtained by bypassing the relay with electrical input directly to the chest magnet. Zephyr skin was used on the primary and secondary pneumatics, with travel adjustments as noted.
The fastest reiterating speed using brown leather on the pneumatics was figure (b) on the chart, i.e., 1050 cy/min (17.5 cy/sec). This finding definitely proves that Zephyr skin-covered pneumatics are faster. However, the time elapse difference is minimal, i.e., 1.5 cy/sec.
Including the relay in the circuit produced the results as shown at figures (c) and (d). The time elapse difference is now much more significant, i.e., 4.2 cy/sec. This greater differ- ence reflects the operation time of the relay pneumatics and travel adjustments. It should also be noted that a combination of Zephyr and Brown leather in the pneumatic circuit increased the speed somewhat over that obtained using only Brown leather.
The question raised by the above-listed findings would naturally be the apparent result to an organist. With the assistance of Mr. Gordon Kibbee, noted organist and organ consultant, it was determined by tests he made that a manual key could be played at a Speed of 20 cy/sec, which extends to 1200 cy/min. This figure was obtained using two fingers, one on each hand, striking the same key. Using one finger only, the result was between 16 and 17 cy/sec. The differ- ences between the above and the relay/chest action results indicate a loose relationship between the demands of a competent organist and he response of the organ action.

{| class="wikitable" style="text-align:center;"
|- style="font-weight:bold;"
! colspan="9" | Reiteration Speeds of Wurlitzer Standard Relay and Chest
|-
| colspan="5" | Chest
| colspan="2" | Relay
| colspan="2" | Maximum Speed
|-
| colspan="2" | Primary
| colspan="3" | Secondary
| Primary
| Secondary
| colspan="2" style="text-align:left;" |
|-
| Pneumatic Material
| Valve Travel
| Pneumatic Material
| Valve Travel
| Pneumatic Slack
| colspan="2" | Pneumatic Material
| style="font-style:italic;" | (cy/min)
| style="font-style:italic;" | (cy/sec)
|-
| Br. L
| ¹⁄₃₂"
| Br. L
| ¹⁷⁄₆₄"
| ¹⁄₃₂"
| colspan="2" style="font-style:italic;" | Relay By-passed
| 790
| style="text-align:right;" | (b) 13.1
|-
| Br. L
| "
| Br. L
| ⁵⁄₃₂"
| "
| colspan="2" | "
| 1000
| style="text-align:right;" | 17.7
|-
| Br. L
| "
| Br. L
| "
| ⁷⁄₆₄"
| colspan="2" | "
| 960
| style="text-align:right;" | 16.0
|-
| Br. L
| "
| Zephyr
| "
| ¹⁄₃₂"
| colspan="2" | "
| 1050
| style="text-align:right;" | 17.5
|-
| Br. L
| ¹⁄₁₆"
| Zephyr
| "
| "
| colspan="2" | "
| 1030
| style="text-align:right;" | 17.2
|-
| Zephyr
| ¹⁄₃₂"
| Zephyr
| "
| "
| colspan="2" | "
| 1150
| style="text-align:right;" | (a) 19.2
|-
| Br. L
| ¹⁄₃₂"
| Br. L
| ¹⁷⁄₆₄"
| ¹⁄₃₂"
| Br. L
| Br. L
| 680
| style="text-align:right;" | 11.3
|-
| Br. L
| "
| Br. L
| ⁵⁄₃₂"
| "
| Br. L
| Br. L
| 800
| style="text-align:right;" | (d) 13.3
|-
| Br. L
| "
| Br. L
| "
| ¹⁷⁄₆₄"
| Br. L
| Br. L
| 770
| style="text-align:right;" | 12.8
|-
| Br. L
| ¹⁄₁₆"
| Zephyr
| "
| ¹⁄₃₂"
| Br. L
| Br. L
| 810
| style="text-align:right;" | 13.5
|-
| Br. L
| ¹⁄₃₂"
| Zephyr
| "
| "
| Br. L
| Br. L
| 830
| style="text-align:right;" | 13.8
|-
| Zephyr
| "
| Zephyr
| "
| "
| Br. L
| Br. L
| 980
| style="text-align:right;" | 16.3
|-
| Zephyr
| "
| Zephyr
| "
| "
| Zephyr
| Br. L
| 1000
| style="text-align:right;" | 16.7
|-
| Zephyr
| "
| Zephyr
| "
| "
| Zephyr
| Zephyr
| 1050
| style="text-align:right;" | (c) 17.5
|}

Judd Walton Vallejo, California

== References ==
<references />

Wurlitzer Chest Repetition Speeds

2025-09-16T21:39:02Z

GabrielPeressini:

The following is a letter which first appeared in the March/April 1984 issue of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 26, no. 2, January/February 1984, p. 53. [https://www.atos.org/journal/issue/26/2]</ref>

The issue has been raised on page 21 of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 25, no. 5, September/October 1983, p. 21. [https://www.atos.org/journal/issue/25/5]</ref>, September/October 1983, about the speed of electro-pneumatic action. The subject has been discussed for many years without positive conclusions published. A few years ago my partner, Bob Jacobus, and I were visiting Roy Emison in Kansas City, Kansas. During a happy three-day visit this subject came up and as a result Roy agreed to set up the necessary test equipment to research the subject and try to establish conclusions based on reasonably accurate test procedures. On a subsequent visit, we three reviewed the test equipment and procedures that Roy had set up, and the results he obtained. We ran through the series of tests selecting at random to double-check Roy's findings. We all agreed that the results were as accurate as the testing equipment could produce.

The equipment used was:
#(1) Strobotac stroboscopic tachometer used to measure speed without drag on the action;
#(2) Stewart-Warner magnetic speed indicator;
#(3) Veeder counter used for checking;
#(4) Facsimile of a Wurlitzer relay and chest built to scale by Roy from measurements taken from his residence-installed Wurlitzer, Style 260, Opus 1173, originally installed in the Newman Theatre, Kansas City, Missouri; and
#(5) a Wurlitzer Open Diapason pipe, G# number 33 on the 8' scale. It was chosen being near the middle of the compass and for its promptness of speed, a middle-of-the-road choice.

Wind was supplied to the facsimile relay and chest at 10" pressure from he organ blower, a 10-hp Orgoblo. Temperature was controlled at 68° Fahrenheit. Very thin Brown leather
and Zephyr skin was used to cover the pneumatics. The facsimile chest and relay were built with a side window for observation purposes.

The following input was important to the test results:
(1) Relay contact bar was set to travel ¹⁄₁₆" (¹⁄₃₂" open, ¹⁄₃₂" closed);
(2) Slack in the secondary chest pneumatic was made by cutting the flex material oversize to allow for ⁷⁄₆₄" travel of the striker felt before it hit the valve arm spoon; and (3) Magnetic travel of the magnet armature was set at ¹⁄₃₂" using a Wurlitzer Brass Plug magnet.

==Observations==
The speeds shown on the chart were an average of several readings. It was discovered that the complete relay (both primary and secondary pneumatics) continued to operate after action had ceased on the pipe valve, and continued to operate up to 1700 cycles/minute (28.3 cycles/second), the top limit of the test equipment. As a possible reference point, the speed of a Xylophone hammer was measured up to 700 cy/min (11.7 cy/sec). Bypassing its reiterating contact allowed it to be accelerated up to 800 cy/min (13.3 cy/sec) before it faded out. The term "faded out" refers to the failure of an action to follow the speed of the input. It was observed that the speed of the action (key contact through relay and chest) may be increased from 680 cy/min (11.3 cy/sec) to 1050 cy/min (17.5 cy/sec) (approximately 50%) by changing adjustments and pneumatic covering material. This fact emphasized the importance of correct adjustments for maximum performance.

==Comments==
A Wurlitzer relay/chest combination operates faster when ultimate adjustments obtain and when pneumatics are covered with Zephyr skin. However, the time elapse difference is minimal (1.5 cy/sec).

==Summary==
The fastest reiterating speed obtained by the pipe pallet valve in the chest, figure (a) on the chart, was 1150 cy/min (19.2 cy/sec). This was obtained by bypassing the relay with electrical input directly to the chest magnet. Zephyr skin was used on the primary and secondary pneumatics, with travel adjustments as noted.
The fastest reiterating speed using brown leather on the pneumatics was figure (b) on the chart, i.e., 1050 cy/min (17.5 cy/sec). This finding definitely proves that Zephyr skin-covered pneumatics are faster. However, the time elapse difference is minimal, i.e., 1.5 cy/sec.
Including the relay in the circuit produced the results as shown at figures (c) and (d). The time elapse difference is now much more significant, i.e., 4.2 cy/sec. This greater differ- ence reflects the operation time of the relay pneumatics and travel adjustments. It should also be noted that a combination of Zephyr and Brown leather in the pneumatic circuit increased the speed somewhat over that obtained using only Brown leather.
The question raised by the above-listed findings would naturally be the apparent result to an organist. With the assistance of Mr. Gordon Kibbee, noted organist and organ consultant, it was determined by tests he made that a manual key could be played at a Speed of 20 cy/sec, which extends to 1200 cy/min. This figure was obtained using two fingers, one on each hand, striking the same key. Using one finger only, the result was between 16 and 17 cy/sec. The differ- ences between the above and the relay/chest action results indicate a loose relationship between the demands of a competent organist and he response of the organ action.

{| class="wikitable" style="text-align:center;"
|- style="font-weight:bold;"
! colspan="9" | Reiteration Speeds of Wurlitzer Standard Relay and Chest
|-
| colspan="5" | Chest
| colspan="2" | Relay
| colspan="2" | Maximum Speed
|-
| colspan="2" | Primary
| colspan="3" | Secondary
| Primary
| Secondary
| colspan="2" style="text-align:left;" |
|-
| Pneumatic Material
| Valve Travel
| Pneumatic Material
| Valve Travel
| Pneumatic Slack
| colspan="2" | Pneumatic Material
| style="font-style:italic;" | (cy/min)
| style="font-style:italic;" | (cy/sec)
|-
| Br. L
| ¹⁄₃₂"
| Br. L
| ¹⁷⁄₆₄"
| ¹⁄₃₂"
| colspan="2" style="font-style:italic;" | Relay By-passed
| 790
| style="text-align:right;" | (b) 13.1
|-
| Br. L
| "
| Br. L
| ⁵⁄₃₂"
| "
| colspan="2" | "
| 1000
| style="text-align:right;" | 17.7
|-
| Br. L
| "
| Br. L
| "
| ⁷⁄₆₄"
| colspan="2" | "
| 960
| style="text-align:right;" | 16.0
|-
| Br. L
| "
| Zephyr
| "
| ¹⁄₃₂"
| colspan="2" | "
| 1050
| style="text-align:right;" | 17.5
|-
| Br. L
| ¹⁄₁₆"
| Zephyr
| "
| "
| colspan="2" | "
| 1030
| style="text-align:right;" | 17.2
|-
| Zephyr
| ¹⁄₃₂"
| Zephyr
| "
| "
| colspan="2" | "
| 1150
| style="text-align:right;" | (a) 19.2
|-
| Br. L
| ¹⁄₃₂"
| Br. L
| ¹⁷⁄₆₄"
| ¹⁄₃₂"
| Br. L
| Br. L
| 680
| style="text-align:right;" | 11.3
|-
| Br. L
| "
| Br. L
| ⁵⁄₃₂"
| "
| Br. L
| Br. L
| 800
| style="text-align:right;" | (d) 13.3
|-
| Br. L
| "
| Br. L
| "
| ¹⁷⁄₆₄"
| Br. L
| Br. L
| 770
| style="text-align:right;" | 12.8
|-
| Br. L
| ¹⁄₁₆"
| Zephyr
| "
| ¹⁄₃₂"
| Br. L
| Br. L
| 810
| style="text-align:right;" | 13.5
|-
| Br. L
| ¹⁄₃₂"
| Zephyr
| "
| "
| Br. L
| Br. L
| 830
| style="text-align:right;" | 13.8
|-
| Zephyr
| "
| Zephyr
| "
| "
| Br. L
| Br. L
| 980
| style="text-align:right;" | 16.3
|-
| Zephyr
| "
| Zephyr
| "
| "
| Zephyr
| Br. L
| 1000
| style="text-align:right;" | 16.7
|-
| Zephyr
| "
| Zephyr
| "
| "
| Zephyr
| Zephyr
| 1050
| style="text-align:right;" | (c) 17.5
|}

Judd Walton Vallejo, California

== References ==
<references />

Wurlitzer Chest Repetition Speeds

2025-09-16T21:37:22Z

GabrielPeressini: /* Summary */

The following is a letter which first appeared in the March/April 1984 issue of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 26, no. 2, January/February 1984, p. 53. [https://www.atos.org/journal/issue/26/2]</ref>

The issue has been raised on page 21 of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 25, no. 5, September/October 1983, p. 21. [https://www.atos.org/journal/issue/25/5]</ref>, September/October 1983, about the speed of electro-pneumatic action. The subject has been discussed for many years without positive conclusions published. A few years ago my partner, Bob Jacobus, and I were visiting Roy Emison in Kansas City, Kansas. During a happy three-day visit this subject came up and as a result Roy agreed to set up the necessary test equipment to research the subject and try to establish conclusions based on reasonably accurate test procedures. On a subsequent visit, we three reviewed the test equipment and procedures that Roy had set up, and the results he obtained. We ran through the series of tests selecting at random to double-check Roy's findings. We all agreed that the results were as accurate as the testing equipment could produce.

The equipment used was:
(1) Strobotac stroboscopic tachometer used to measure speed without drag on the action;
(2) Stewart-Warner magnetic speed indicator;
(3) Veeder counter used for checking;
(4) Facsimile of a Wurlitzer relay and chest built to scale by Roy from measurements taken from his residence-installed Wurlitzer, Style 260, Opus 1173, originally installed in the Newman Theatre, Kansas City, Missouri; and
(5) a Wurlitzer Open Diapason pipe, G# number 33 on the 8' scale. It was chosen being near the middle of the compass and for its promptness of speed, a middle-of-the-road choice.

Wind was supplied to the facsimile relay and chest at 10" pressure from he organ blower, a 10-hp Orgoblo. Temperature was controlled at 68° Fahrenheit. Very thin Brown leather
and Zephyr skin was used to cover the pneumatics. The facsimile chest and relay were built with a side window for observation purposes.

The following input was important to the test results:
(1) Relay contact bar was set to travel ¹⁄₁₆" (¹⁄₃₂" open, ¹⁄₃₂" closed);
(2) Slack in the secondary chest pneumatic was made by cutting the flex material oversize to allow for ⁷⁄₆₄" travel of the striker felt before it hit the valve arm spoon; and (3) Magnetic travel of the magnet armature was set at ¹⁄₃₂" using a Wurlitzer Brass Plug magnet.

==Observations==
The speeds shown on the chart were an average of several readings. It was discovered that the complete relay (both primary and secondary pneumatics) continued to operate after action had ceased on the pipe valve, and continued to operate up to 1700 cycles/minute (28.3 cycles/second), the top limit of the test equipment. As a possible reference point, the speed of a Xylophone hammer was measured up to 700 cy/min (11.7 cy/sec). Bypassing its reiterating contact allowed it to be accelerated up to 800 cy/min (13.3 cy/sec) before it faded out. The term "faded out" refers to the failure of an action to follow the speed of the input. It was observed that the speed of the action (key contact through relay and chest) may be increased from 680 cy/min (11.3 cy/sec) to 1050 cy/min (17.5 cy/sec) (approximately 50%) by changing adjustments and pneumatic covering material. This fact emphasized the importance of correct adjustments for maximum performance.

==Comments==
A Wurlitzer relay/chest combination operates faster when ultimate adjustments obtain and when pneumatics are covered with Zephyr skin. However, the time elapse difference is minimal (1.5 cy/sec).

==Summary==
The fastest reiterating speed obtained by the pipe pallet valve in the chest, figure (a) on the chart, was 1150 cy/min (19.2 cy/sec). This was obtained by bypassing the relay with electrical input directly to the chest magnet. Zephyr skin was used on the primary and secondary pneumatics, with travel adjustments as noted.
The fastest reiterating speed using brown leather on the pneumatics was figure (b) on the chart, i.e., 1050 cy/min (17.5 cy/sec). This finding definitely proves that Zephyr skin-covered pneumatics are faster. However, the time elapse difference is minimal, i.e., 1.5 cy/sec.
Including the relay in the circuit produced the results as shown at figures (c) and (d). The time elapse difference is now much more significant, i.e., 4.2 cy/sec. This greater differ- ence reflects the operation time of the relay pneumatics and travel adjustments. It should also be noted that a combination of Zephyr and Brown leather in the pneumatic circuit increased the speed somewhat over that obtained using only Brown leather.
The question raised by the above-listed findings would naturally be the apparent result to an organist. With the assistance of Mr. Gordon Kibbee, noted organist and organ consultant, it was determined by tests he made that a manual key could be played at a Speed of 20 cy/sec, which extends to 1200 cy/min. This figure was obtained using two fingers, one on each hand, striking the same key. Using one finger only, the result was between 16 and 17 cy/sec. The differ- ences between the above and the relay/chest action results indicate a loose relationship between the demands of a competent organist and he response of the organ action.

{| class="wikitable" style="text-align:center;"
|- style="font-weight:bold;"
! colspan="9" | Reiteration Speeds of Wurlitzer Standard Relay and Chest
|-
| colspan="5" | Chest
| colspan="2" | Relay
| colspan="2" | Maximum Speed
|-
| colspan="2" | Primary
| colspan="3" | Secondary
| Primary
| Secondary
| colspan="2" style="text-align:left;" |
|-
| Pneumatic Material
| Valve Travel
| Pneumatic Material
| Valve Travel
| Pneumatic Slack
| colspan="2" | Pneumatic Material
| style="font-style:italic;" | (cy/min)
| style="font-style:italic;" | (cy/sec)
|-
| Br. L
| ¹⁄₃₂"
| Br. L
| ¹⁷⁄₆₄"
| ¹⁄₃₂"
| colspan="2" style="font-style:italic;" | Relay By-passed
| 790
| style="text-align:right;" | (b) 13.1
|-
| Br. L
| "
| Br. L
| ⁵⁄₃₂"
| "
| colspan="2" | "
| 1000
| style="text-align:right;" | 17.7
|-
| Br. L
| "
| Br. L
| "
| ⁷⁄₆₄"
| colspan="2" | "
| 960
| style="text-align:right;" | 16.0
|-
| Br. L
| "
| Zephyr
| "
| ¹⁄₃₂"
| colspan="2" | "
| 1050
| style="text-align:right;" | 17.5
|-
| Br. L
| ¹⁄₁₆"
| Zephyr
| "
| "
| colspan="2" | "
| 1030
| style="text-align:right;" | 17.2
|-
| Zephyr
| ¹⁄₃₂"
| Zephyr
| "
| "
| colspan="2" | "
| 1150
| style="text-align:right;" | (a) 19.2
|-
| Br. L
| ¹⁄₃₂"
| Br. L
| ¹⁷⁄₆₄"
| ¹⁄₃₂"
| Br. L
| Br. L
| 680
| style="text-align:right;" | 11.3
|-
| Br. L
| "
| Br. L
| ⁵⁄₃₂"
| "
| Br. L
| Br. L
| 800
| style="text-align:right;" | (d) 13.3
|-
| Br. L
| "
| Br. L
| "
| ¹⁷⁄₆₄"
| Br. L
| Br. L
| 770
| style="text-align:right;" | 12.8
|-
| Br. L
| ¹⁄₁₆"
| Zephyr
| "
| ¹⁄₃₂"
| Br. L
| Br. L
| 810
| style="text-align:right;" | 13.5
|-
| Br. L
| ¹⁄₃₂"
| Zephyr
| "
| "
| Br. L
| Br. L
| 830
| style="text-align:right;" | 13.8
|-
| Zephyr
| "
| Zephyr
| "
| "
| Br. L
| Br. L
| 980
| style="text-align:right;" | 16.3
|-
| Zephyr
| "
| Zephyr
| "
| "
| Zephyr
| Br. L
| 1000
| style="text-align:right;" | 16.7
|-
| Zephyr
| "
| Zephyr
| "
| "
| Zephyr
| Zephyr
| 1050
| style="text-align:right;" | (c) 17.5
|}

Judd Walton Vallejo, California

== References ==
<references />

Wurlitzer Chest Repetition Speeds

2025-09-16T21:36:31Z

GabrielPeressini: /* Summary */

The following is a letter which first appeared in the March/April 1984 issue of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 26, no. 2, January/February 1984, p. 53. [https://www.atos.org/journal/issue/26/2]</ref>

The issue has been raised on page 21 of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 25, no. 5, September/October 1983, p. 21. [https://www.atos.org/journal/issue/25/5]</ref>, September/October 1983, about the speed of electro-pneumatic action. The subject has been discussed for many years without positive conclusions published. A few years ago my partner, Bob Jacobus, and I were visiting Roy Emison in Kansas City, Kansas. During a happy three-day visit this subject came up and as a result Roy agreed to set up the necessary test equipment to research the subject and try to establish conclusions based on reasonably accurate test procedures. On a subsequent visit, we three reviewed the test equipment and procedures that Roy had set up, and the results he obtained. We ran through the series of tests selecting at random to double-check Roy's findings. We all agreed that the results were as accurate as the testing equipment could produce.

The equipment used was:
(1) Strobotac stroboscopic tachometer used to measure speed without drag on the action;
(2) Stewart-Warner magnetic speed indicator;
(3) Veeder counter used for checking;
(4) Facsimile of a Wurlitzer relay and chest built to scale by Roy from measurements taken from his residence-installed Wurlitzer, Style 260, Opus 1173, originally installed in the Newman Theatre, Kansas City, Missouri; and
(5) a Wurlitzer Open Diapason pipe, G# number 33 on the 8' scale. It was chosen being near the middle of the compass and for its promptness of speed, a middle-of-the-road choice.

Wind was supplied to the facsimile relay and chest at 10" pressure from he organ blower, a 10-hp Orgoblo. Temperature was controlled at 68° Fahrenheit. Very thin Brown leather
and Zephyr skin was used to cover the pneumatics. The facsimile chest and relay were built with a side window for observation purposes.

The following input was important to the test results:
(1) Relay contact bar was set to travel ¹⁄₁₆" (¹⁄₃₂" open, ¹⁄₃₂" closed);
(2) Slack in the secondary chest pneumatic was made by cutting the flex material oversize to allow for ⁷⁄₆₄" travel of the striker felt before it hit the valve arm spoon; and (3) Magnetic travel of the magnet armature was set at ¹⁄₃₂" using a Wurlitzer Brass Plug magnet.

==Observations==
The speeds shown on the chart were an average of several readings. It was discovered that the complete relay (both primary and secondary pneumatics) continued to operate after action had ceased on the pipe valve, and continued to operate up to 1700 cycles/minute (28.3 cycles/second), the top limit of the test equipment. As a possible reference point, the speed of a Xylophone hammer was measured up to 700 cy/min (11.7 cy/sec). Bypassing its reiterating contact allowed it to be accelerated up to 800 cy/min (13.3 cy/sec) before it faded out. The term "faded out" refers to the failure of an action to follow the speed of the input. It was observed that the speed of the action (key contact through relay and chest) may be increased from 680 cy/min (11.3 cy/sec) to 1050 cy/min (17.5 cy/sec) (approximately 50%) by changing adjustments and pneumatic covering material. This fact emphasized the importance of correct adjustments for maximum performance.

==Comments==
A Wurlitzer relay/chest combination operates faster when ultimate adjustments obtain and when pneumatics are covered with Zephyr skin. However, the time elapse difference is minimal (1.5 cy/sec).

==Summary==
The fastest reiterating speed obtained by the pipe pallet valve in the chest, figure (a) on the chart, was 1150 cy/min (19.2 cy/sec). This was obtained by bypassing the relay with electrical input directly to the chest magnet. Zephyr skin was used on the primary and secondary pneumatics, with travel adjustments as noted.
The fastest reiterating speed using brown leather on the pneumatics was figure (b) on the chart, i.e., 1050 cy/min (17.5 cy/sec). This finding definitely proves that Zephyr skin-covered pneumatics are faster. However, the time elapse difference is minimal, i.e., 1.5 cy/sec.
Including the relay in the circuit produced the results as shown at figures (c) and (d). The time elapse difference is now much more significant, i.e., 4.2 cy/sec. This greater differ- ence reflects the operation time of the relay pneumatics and travel adjustments. It should also be noted that a combination of Zephyr and Brown leather in the pneumatic circuit increased the speed somewhat over that obtained using only Brown leather.
The question raised by the above-listed findings would naturally be the apparent result to an organist. With the assistance of Mr. Gordon Kibbee, noted organist and organ consultant, it was determined by tests he made that a manual key could be played at a Speed of 20 cy/sec, which extends to 1200 cy/min. This figure was obtained using two fingers, one on each hand, striking the same key. Using one finger only, the result was between 16 and 17 cy/sec. The differ- ences between the above and the relay/chest action results indicate a loose relationship between the demands of a competent organist and he response of the organ action.

{| class="wikitable" style="text-align:center;"
|- style="font-weight:bold;"
! colspan="9" style="font-style:italic;" | Reiteration Speeds of Wurlitzer Standard Relay and Chest
|-
| colspan="5" style="background-color:#F9F9F9; color:#202122;" | Chest
| colspan="2" | Relay
| colspan="2" | Maximum Speed
|-
| colspan="2" style="background-color:#F9F9F9; color:#202122;" | Primary
| colspan="3" style="background-color:#F9F9F9; color:#202122;" | Secondary
| Primary
| Secondary
| colspan="2" style="text-align:left;" |
|-
| style="background-color:#F9F9F9; color:#202122;" | Pneumatic Material
| style="background-color:#F00; color:#202122;" | Valve Travel
| style="background-color:#F9F9F9; color:#202122;" | Pneumatic Material
| Valve Travel
| Pneumatic Slack
| colspan="2" | Pneumatic Material
| style="font-style:italic;" | (cy/min)
| style="font-style:italic;" | (cy/sec)
|-
| Br. L
| style="background-color:#F9F9F9; color:#202122;" | ¹⁄₃₂"
| style="background-color:#F00; color:#202122;" | Br. L
| ¹⁷⁄₆₄"
| ¹⁄₃₂"
| colspan="2" style="font-style:italic;" | Relay By-passed
| 790
| style="text-align:right;" | (b) 13.1
|-
| Br. L
| style="background-color:#F9F9F9; color:#202122;" | "
| style="background-color:#F9F9F9; color:#202122;" | Br. L
| ⁵⁄₃₂"
| "
| colspan="2" | "
| 1000
| style="text-align:right;" | 17.7
|-
| Br. L
| "
| style="background-color:#F9F9F9; color:#202122;" | Br. L
| "
| ⁷⁄₆₄"
| colspan="2" | "
| 960
| style="text-align:right;" | 16.0
|-
| Br. L
| "
| style="background-color:#F9F9F9; color:#202122;" | Zephyr
| "
| ¹⁄₃₂"
| colspan="2" | "
| 1050
| style="text-align:right;" | 17.5
|-
| Br. L
| ¹⁄₁₆"
| Zephyr
| "
| "
| colspan="2" | "
| 1030
| style="text-align:right;" | 17.2
|-
| Zephyr
| ¹⁄₃₂"
| Zephyr
| "
| "
| colspan="2" | "
| 1150
| style="text-align:right;" | (a) 19.2
|-
| Br. L
| ¹⁄₃₂"
| Br. L
| ¹⁷⁄₆₄"
| ¹⁄₃₂"
| Br. L
| Br. L
| 680
| style="text-align:right;" | 11.3
|-
| Br. L
| "
| Br. L
| ⁵⁄₃₂"
| "
| Br. L
| Br. L
| 800
| style="text-align:right;" | (d) 13.3
|-
| Br. L
| "
| Br. L
| "
| ¹⁷⁄₆₄"
| Br. L
| Br. L
| 770
| style="text-align:right;" | 12.8
|-
| Br. L
| ¹⁄₁₆"
| Zephyr
| "
| ¹⁄₃₂"
| Br. L
| Br. L
| 810
| style="text-align:right;" | 13.5
|-
| Br. L
| ¹⁄₃₂"
| Zephyr
| "
| "
| Br. L
| Br. L
| 830
| style="text-align:right;" | 13.8
|-
| Zephyr
| "
| Zephyr
| "
| "
| Br. L
| Br. L
| 980
| style="text-align:right;" | 16.3
|-
| Zephyr
| "
| Zephyr
| "
| "
| Zephyr
| Br. L
| 1000
| style="text-align:right;" | 16.7
|-
| Zephyr
| "
| Zephyr
| "
| "
| Zephyr
| Zephyr
| 1050
| style="text-align:right;" | (c) 17.5
|}

Judd Walton Vallejo, California

== References ==
<references />

Wurlitzer Chest Repetition Speeds

2025-09-16T21:36:05Z

GabrielPeressini:

The following is a letter which first appeared in the March/April 1984 issue of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 26, no. 2, January/February 1984, p. 53. [https://www.atos.org/journal/issue/26/2]</ref>

The issue has been raised on page 21 of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 25, no. 5, September/October 1983, p. 21. [https://www.atos.org/journal/issue/25/5]</ref>, September/October 1983, about the speed of electro-pneumatic action. The subject has been discussed for many years without positive conclusions published. A few years ago my partner, Bob Jacobus, and I were visiting Roy Emison in Kansas City, Kansas. During a happy three-day visit this subject came up and as a result Roy agreed to set up the necessary test equipment to research the subject and try to establish conclusions based on reasonably accurate test procedures. On a subsequent visit, we three reviewed the test equipment and procedures that Roy had set up, and the results he obtained. We ran through the series of tests selecting at random to double-check Roy's findings. We all agreed that the results were as accurate as the testing equipment could produce.

The equipment used was:
(1) Strobotac stroboscopic tachometer used to measure speed without drag on the action;
(2) Stewart-Warner magnetic speed indicator;
(3) Veeder counter used for checking;
(4) Facsimile of a Wurlitzer relay and chest built to scale by Roy from measurements taken from his residence-installed Wurlitzer, Style 260, Opus 1173, originally installed in the Newman Theatre, Kansas City, Missouri; and
(5) a Wurlitzer Open Diapason pipe, G# number 33 on the 8' scale. It was chosen being near the middle of the compass and for its promptness of speed, a middle-of-the-road choice.

Wind was supplied to the facsimile relay and chest at 10" pressure from he organ blower, a 10-hp Orgoblo. Temperature was controlled at 68° Fahrenheit. Very thin Brown leather
and Zephyr skin was used to cover the pneumatics. The facsimile chest and relay were built with a side window for observation purposes.

The following input was important to the test results:
(1) Relay contact bar was set to travel ¹⁄₁₆" (¹⁄₃₂" open, ¹⁄₃₂" closed);
(2) Slack in the secondary chest pneumatic was made by cutting the flex material oversize to allow for ⁷⁄₆₄" travel of the striker felt before it hit the valve arm spoon; and (3) Magnetic travel of the magnet armature was set at ¹⁄₃₂" using a Wurlitzer Brass Plug magnet.

==Observations==
The speeds shown on the chart were an average of several readings. It was discovered that the complete relay (both primary and secondary pneumatics) continued to operate after action had ceased on the pipe valve, and continued to operate up to 1700 cycles/minute (28.3 cycles/second), the top limit of the test equipment. As a possible reference point, the speed of a Xylophone hammer was measured up to 700 cy/min (11.7 cy/sec). Bypassing its reiterating contact allowed it to be accelerated up to 800 cy/min (13.3 cy/sec) before it faded out. The term "faded out" refers to the failure of an action to follow the speed of the input. It was observed that the speed of the action (key contact through relay and chest) may be increased from 680 cy/min (11.3 cy/sec) to 1050 cy/min (17.5 cy/sec) (approximately 50%) by changing adjustments and pneumatic covering material. This fact emphasized the importance of correct adjustments for maximum performance.

==Comments==
A Wurlitzer relay/chest combination operates faster when ultimate adjustments obtain and when pneumatics are covered with Zephyr skin. However, the time elapse difference is minimal (1.5 cy/sec).

==Summary==
The fastest reiterating speed obtained by the pipe pallet valve in the chest, figure (a) on the chart, was 1150 cy/min (19.2 cy/sec). This was obtained by bypassing the relay with electrical input directly to the chest magnet. Zephyr skin was used on the primary and secondary pneumatics, with travel adjustments as noted.
The fastest reiterating speed using brown leather on the pneumatics was figure (b) on the chart, i.e., 1050 cy/min (17.5 cy/sec). This finding definitely proves that Zephyr skin-covered pneumatics are faster. However, the time elapse difference is minimal, i.e., 1.5 cy/sec.
Including the relay in the circuit produced the results as shown at figures (c) and (d). The time elapse difference is now much more significant, i.e., 4.2 cy/sec. This greater differ- ence reflects the operation time of the relay pneumatics and travel adjustments. It should also be noted that a combination of Zephyr and Brown leather in the pneumatic circuit increased the speed somewhat over that obtained using only Brown leather.
The question raised by the above-listed findings would naturally be the apparent result to an organist. With the assistance of Mr. Gordon Kibbee, noted organist and organ consultant, it was determined by tests he made that a manual key could be played at a Speed of 20 cy/sec, which extends to 1200 cy/min. This figure was obtained using two fingers, one on each hand, striking the same key. Using one finger only, the result was between 16 and 17 cy/sec. The differ- ences between the above and the relay/chest action results indicate a loose relationship between the demands of a competent organist and he response of the organ action.
Reiteration Speeds of Wurlitzer Standard Relay and Chest
Chest
Relay
Maximum Speed
Primary
Secondary
Primary
Secondary

Pneumatic Material
Valve Travel
Pneumatic Material
Valve Travel
Pneumatic Slack
Pneumatic Material
(cy/min)
(cy/sec)
Br. L
¹⁄₃₂"
Br. L
¹⁷⁄₆₄"
¹⁄₃₂"
Relay By-passed
790
(b) 13.1
Br. L
"
Br. L
⁵⁄₃₂"
"
"
1000
17.7
Br. L
"
Br. L
"
⁷⁄₆₄"
"
960
16.0
Br. L
"
Zephyr
"
¹⁄₃₂"
"
1050
17.5
Br. L
¹⁄₁₆"
Zephyr
"
"
"
1030
17.2
Zephyr
¹⁄₃₂"
Zephyr
"
"
"
1150
(a) 19.2
Br. L
¹⁄₃₂"
Br. L
¹⁷⁄₆₄"
¹⁄₃₂"
Br. L
Br. L
680
11.3
Br. L
"
Br. L
⁵⁄₃₂"
"
Br. L
Br. L
800
(d) 13.3
Br. L
"
Br. L
"
¹⁷⁄₆₄"
Br. L
Br. L
770
12.8
Br. L
¹⁄₁₆"
Zephyr
"
¹⁄₃₂"
Br. L
Br. L
810
13.5
Br. L
¹⁄₃₂"
Zephyr
"
"
Br. L
Br. L
830
13.8
Zephyr
"
Zephyr
"
"
Br. L
Br. L
980
16.3
Zephyr
"
Zephyr
"
"
Zephyr
Br. L
1000
16.7
Zephyr
"
Zephyr
"
"
Zephyr
Zephyr
1050
(c) 17.5

Judd Walton Vallejo, California
== References ==
<references />

Wurlitzer Chest Repetition Speeds

2025-09-16T21:34:22Z

GabrielPeressini:

Wurlitzer Chest Repetition Speeds

2025-09-16T21:34:15Z

GabrielPeressini:

***The following is a letter which first appeared in the March/April 1984 issue of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 26, no. 2, January/February 1984, p. 53. [https://www.atos.org/journal/issue/26/2]</ref>***

The issue has been raised on page 21 of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 25, no. 5, September/October 1983, p. 21. [https://www.atos.org/journal/issue/25/5]</ref>, September/October 1983, about the speed of electro-pneumatic action. The subject has been discussed for many years without positive conclusions published. A few years ago my partner, Bob Jacobus, and I were visiting Roy Emison in Kansas City, Kansas. During a happy three-day visit this subject came up and as a result Roy agreed to set up the necessary test equipment to research the subject and try to establish conclusions based on reasonably accurate test procedures. On a subsequent visit, we three reviewed the test equipment and procedures that Roy had set up, and the results he obtained. We ran through the series of tests selecting at random to double-check Roy's findings. We all agreed that the results were as accurate as the testing equipment could produce.

The equipment used was:
(1) Strobotac stroboscopic tachometer used to measure speed without drag on the action;
(2) Stewart-Warner magnetic speed indicator;
(3) Veeder counter used for checking;
(4) Facsimile of a Wurlitzer relay and chest built to scale by Roy from measurements taken from his residence-installed Wurlitzer, Style 260, Opus 1173, originally installed in the Newman Theatre, Kansas City, Missouri; and
(5) a Wurlitzer Open Diapason pipe, G# number 33 on the 8' scale. It was chosen being near the middle of the compass and for its promptness of speed, a middle-of-the-road choice.

Wind was supplied to the facsimile relay and chest at 10" pressure from he organ blower, a 10-hp Orgoblo. Temperature was controlled at 68° Fahrenheit. Very thin Brown leather
and Zephyr skin was used to cover the pneumatics. The facsimile chest and relay were built with a side window for observation purposes.

The following input was important to the test results:
(1) Relay contact bar was set to travel ¹⁄₁₆" (¹⁄₃₂" open, ¹⁄₃₂" closed);
(2) Slack in the secondary chest pneumatic was made by cutting the flex material oversize to allow for ⁷⁄₆₄" travel of the striker felt before it hit the valve arm spoon; and (3) Magnetic travel of the magnet armature was set at ¹⁄₃₂" using a Wurlitzer Brass Plug magnet.

==Observations==
The speeds shown on the chart were an average of several readings. It was discovered that the complete relay (both primary and secondary pneumatics) continued to operate after action had ceased on the pipe valve, and continued to operate up to 1700 cycles/minute (28.3 cycles/second), the top limit of the test equipment. As a possible reference point, the speed of a Xylophone hammer was measured up to 700 cy/min (11.7 cy/sec). Bypassing its reiterating contact allowed it to be accelerated up to 800 cy/min (13.3 cy/sec) before it faded out. The term "faded out" refers to the failure of an action to follow the speed of the input. It was observed that the speed of the action (key contact through relay and chest) may be increased from 680 cy/min (11.3 cy/sec) to 1050 cy/min (17.5 cy/sec) (approximately 50%) by changing adjustments and pneumatic covering material. This fact emphasized the importance of correct adjustments for maximum performance.

==Comments==
A Wurlitzer relay/chest combination operates faster when ultimate adjustments obtain and when pneumatics are covered with Zephyr skin. However, the time elapse difference is minimal (1.5 cy/sec).

==Summary==
The fastest reiterating speed obtained by the pipe pallet valve in the chest, figure (a) on the chart, was 1150 cy/min (19.2 cy/sec). This was obtained by bypassing the relay with electrical input directly to the chest magnet. Zephyr skin was used on the primary and secondary pneumatics, with travel adjustments as noted.
The fastest reiterating speed using brown leather on the pneumatics was figure (b) on the chart, i.e., 1050 cy/min (17.5 cy/sec). This finding definitely proves that Zephyr skin-covered pneumatics are faster. However, the time elapse difference is minimal, i.e., 1.5 cy/sec.
Including the relay in the circuit produced the results as shown at figures (c) and (d). The time elapse difference is now much more significant, i.e., 4.2 cy/sec. This greater differ- ence reflects the operation time of the relay pneumatics and travel adjustments. It should also be noted that a combination of Zephyr and Brown leather in the pneumatic circuit increased the speed somewhat over that obtained using only Brown leather.
The question raised by the above-listed findings would naturally be the apparent result to an organist. With the assistance of Mr. Gordon Kibbee, noted organist and organ consultant, it was determined by tests he made that a manual key could be played at a Speed of 20 cy/sec, which extends to 1200 cy/min. This figure was obtained using two fingers, one on each hand, striking the same key. Using one finger only, the result was between 16 and 17 cy/sec. The differ- ences between the above and the relay/chest action results indicate a loose relationship between the demands of a competent organist and he response of the organ action.

== References ==
<references />

Wurlitzer Chest Repetition Speeds

2025-09-16T21:34:09Z

GabrielPeressini:

**The following is a letter which first appeared in the March/April 1984 issue of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 26, no. 2, January/February 1984, p. 53. [https://www.atos.org/journal/issue/26/2]</ref>**

The issue has been raised on page 21 of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 25, no. 5, September/October 1983, p. 21. [https://www.atos.org/journal/issue/25/5]</ref>, September/October 1983, about the speed of electro-pneumatic action. The subject has been discussed for many years without positive conclusions published. A few years ago my partner, Bob Jacobus, and I were visiting Roy Emison in Kansas City, Kansas. During a happy three-day visit this subject came up and as a result Roy agreed to set up the necessary test equipment to research the subject and try to establish conclusions based on reasonably accurate test procedures. On a subsequent visit, we three reviewed the test equipment and procedures that Roy had set up, and the results he obtained. We ran through the series of tests selecting at random to double-check Roy's findings. We all agreed that the results were as accurate as the testing equipment could produce.

The equipment used was:
(1) Strobotac stroboscopic tachometer used to measure speed without drag on the action;
(2) Stewart-Warner magnetic speed indicator;
(3) Veeder counter used for checking;
(4) Facsimile of a Wurlitzer relay and chest built to scale by Roy from measurements taken from his residence-installed Wurlitzer, Style 260, Opus 1173, originally installed in the Newman Theatre, Kansas City, Missouri; and
(5) a Wurlitzer Open Diapason pipe, G# number 33 on the 8' scale. It was chosen being near the middle of the compass and for its promptness of speed, a middle-of-the-road choice.

Wind was supplied to the facsimile relay and chest at 10" pressure from he organ blower, a 10-hp Orgoblo. Temperature was controlled at 68° Fahrenheit. Very thin Brown leather
and Zephyr skin was used to cover the pneumatics. The facsimile chest and relay were built with a side window for observation purposes.

The following input was important to the test results:
(1) Relay contact bar was set to travel ¹⁄₁₆" (¹⁄₃₂" open, ¹⁄₃₂" closed);
(2) Slack in the secondary chest pneumatic was made by cutting the flex material oversize to allow for ⁷⁄₆₄" travel of the striker felt before it hit the valve arm spoon; and (3) Magnetic travel of the magnet armature was set at ¹⁄₃₂" using a Wurlitzer Brass Plug magnet.

==Observations==
The speeds shown on the chart were an average of several readings. It was discovered that the complete relay (both primary and secondary pneumatics) continued to operate after action had ceased on the pipe valve, and continued to operate up to 1700 cycles/minute (28.3 cycles/second), the top limit of the test equipment. As a possible reference point, the speed of a Xylophone hammer was measured up to 700 cy/min (11.7 cy/sec). Bypassing its reiterating contact allowed it to be accelerated up to 800 cy/min (13.3 cy/sec) before it faded out. The term "faded out" refers to the failure of an action to follow the speed of the input. It was observed that the speed of the action (key contact through relay and chest) may be increased from 680 cy/min (11.3 cy/sec) to 1050 cy/min (17.5 cy/sec) (approximately 50%) by changing adjustments and pneumatic covering material. This fact emphasized the importance of correct adjustments for maximum performance.

==Comments==
A Wurlitzer relay/chest combination operates faster when ultimate adjustments obtain and when pneumatics are covered with Zephyr skin. However, the time elapse difference is minimal (1.5 cy/sec).

==Summary==
The fastest reiterating speed obtained by the pipe pallet valve in the chest, figure (a) on the chart, was 1150 cy/min (19.2 cy/sec). This was obtained by bypassing the relay with electrical input directly to the chest magnet. Zephyr skin was used on the primary and secondary pneumatics, with travel adjustments as noted.
The fastest reiterating speed using brown leather on the pneumatics was figure (b) on the chart, i.e., 1050 cy/min (17.5 cy/sec). This finding definitely proves that Zephyr skin-covered pneumatics are faster. However, the time elapse difference is minimal, i.e., 1.5 cy/sec.
Including the relay in the circuit produced the results as shown at figures (c) and (d). The time elapse difference is now much more significant, i.e., 4.2 cy/sec. This greater differ- ence reflects the operation time of the relay pneumatics and travel adjustments. It should also be noted that a combination of Zephyr and Brown leather in the pneumatic circuit increased the speed somewhat over that obtained using only Brown leather.
The question raised by the above-listed findings would naturally be the apparent result to an organist. With the assistance of Mr. Gordon Kibbee, noted organist and organ consultant, it was determined by tests he made that a manual key could be played at a Speed of 20 cy/sec, which extends to 1200 cy/min. This figure was obtained using two fingers, one on each hand, striking the same key. Using one finger only, the result was between 16 and 17 cy/sec. The differ- ences between the above and the relay/chest action results indicate a loose relationship between the demands of a competent organist and he response of the organ action.

== References ==
<references />

Wurlitzer Chest Repetition Speeds

2025-09-16T21:34:02Z

GabrielPeressini:

*The following is a letter which first appeared in the March/April 1984 issue of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 26, no. 2, January/February 1984, p. 53. [https://www.atos.org/journal/issue/26/2]</ref>*

The issue has been raised on page 21 of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 25, no. 5, September/October 1983, p. 21. [https://www.atos.org/journal/issue/25/5]</ref>, September/October 1983, about the speed of electro-pneumatic action. The subject has been discussed for many years without positive conclusions published. A few years ago my partner, Bob Jacobus, and I were visiting Roy Emison in Kansas City, Kansas. During a happy three-day visit this subject came up and as a result Roy agreed to set up the necessary test equipment to research the subject and try to establish conclusions based on reasonably accurate test procedures. On a subsequent visit, we three reviewed the test equipment and procedures that Roy had set up, and the results he obtained. We ran through the series of tests selecting at random to double-check Roy's findings. We all agreed that the results were as accurate as the testing equipment could produce.

The equipment used was:
(1) Strobotac stroboscopic tachometer used to measure speed without drag on the action;
(2) Stewart-Warner magnetic speed indicator;
(3) Veeder counter used for checking;
(4) Facsimile of a Wurlitzer relay and chest built to scale by Roy from measurements taken from his residence-installed Wurlitzer, Style 260, Opus 1173, originally installed in the Newman Theatre, Kansas City, Missouri; and
(5) a Wurlitzer Open Diapason pipe, G# number 33 on the 8' scale. It was chosen being near the middle of the compass and for its promptness of speed, a middle-of-the-road choice.

Wind was supplied to the facsimile relay and chest at 10" pressure from he organ blower, a 10-hp Orgoblo. Temperature was controlled at 68° Fahrenheit. Very thin Brown leather
and Zephyr skin was used to cover the pneumatics. The facsimile chest and relay were built with a side window for observation purposes.

The following input was important to the test results:
(1) Relay contact bar was set to travel ¹⁄₁₆" (¹⁄₃₂" open, ¹⁄₃₂" closed);
(2) Slack in the secondary chest pneumatic was made by cutting the flex material oversize to allow for ⁷⁄₆₄" travel of the striker felt before it hit the valve arm spoon; and (3) Magnetic travel of the magnet armature was set at ¹⁄₃₂" using a Wurlitzer Brass Plug magnet.

==Observations==
The speeds shown on the chart were an average of several readings. It was discovered that the complete relay (both primary and secondary pneumatics) continued to operate after action had ceased on the pipe valve, and continued to operate up to 1700 cycles/minute (28.3 cycles/second), the top limit of the test equipment. As a possible reference point, the speed of a Xylophone hammer was measured up to 700 cy/min (11.7 cy/sec). Bypassing its reiterating contact allowed it to be accelerated up to 800 cy/min (13.3 cy/sec) before it faded out. The term "faded out" refers to the failure of an action to follow the speed of the input. It was observed that the speed of the action (key contact through relay and chest) may be increased from 680 cy/min (11.3 cy/sec) to 1050 cy/min (17.5 cy/sec) (approximately 50%) by changing adjustments and pneumatic covering material. This fact emphasized the importance of correct adjustments for maximum performance.

==Comments==
A Wurlitzer relay/chest combination operates faster when ultimate adjustments obtain and when pneumatics are covered with Zephyr skin. However, the time elapse difference is minimal (1.5 cy/sec).

==Summary==
The fastest reiterating speed obtained by the pipe pallet valve in the chest, figure (a) on the chart, was 1150 cy/min (19.2 cy/sec). This was obtained by bypassing the relay with electrical input directly to the chest magnet. Zephyr skin was used on the primary and secondary pneumatics, with travel adjustments as noted.
The fastest reiterating speed using brown leather on the pneumatics was figure (b) on the chart, i.e., 1050 cy/min (17.5 cy/sec). This finding definitely proves that Zephyr skin-covered pneumatics are faster. However, the time elapse difference is minimal, i.e., 1.5 cy/sec.
Including the relay in the circuit produced the results as shown at figures (c) and (d). The time elapse difference is now much more significant, i.e., 4.2 cy/sec. This greater differ- ence reflects the operation time of the relay pneumatics and travel adjustments. It should also be noted that a combination of Zephyr and Brown leather in the pneumatic circuit increased the speed somewhat over that obtained using only Brown leather.
The question raised by the above-listed findings would naturally be the apparent result to an organist. With the assistance of Mr. Gordon Kibbee, noted organist and organ consultant, it was determined by tests he made that a manual key could be played at a Speed of 20 cy/sec, which extends to 1200 cy/min. This figure was obtained using two fingers, one on each hand, striking the same key. Using one finger only, the result was between 16 and 17 cy/sec. The differ- ences between the above and the relay/chest action results indicate a loose relationship between the demands of a competent organist and he response of the organ action.

== References ==
<references />

Wurlitzer Chest Repetition Speeds

2025-09-16T21:33:45Z

GabrielPeressini:

The following is a letter which first appeared in the March/April 1984 issue of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 26, no. 2, January/February 1984, p. 53. [https://www.atos.org/journal/issue/26/2]</ref>

The issue has been raised on page 21 of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 25, no. 5, September/October 1983, p. 21. [https://www.atos.org/journal/issue/25/5]</ref>, September/October 1983, about the speed of electro-pneumatic action. The subject has been discussed for many years without positive conclusions published. A few years ago my partner, Bob Jacobus, and I were visiting Roy Emison in Kansas City, Kansas. During a happy three-day visit this subject came up and as a result Roy agreed to set up the necessary test equipment to research the subject and try to establish conclusions based on reasonably accurate test procedures. On a subsequent visit, we three reviewed the test equipment and procedures that Roy had set up, and the results he obtained. We ran through the series of tests selecting at random to double-check Roy's findings. We all agreed that the results were as accurate as the testing equipment could produce.

The equipment used was:
(1) Strobotac stroboscopic tachometer used to measure speed without drag on the action;
(2) Stewart-Warner magnetic speed indicator;
(3) Veeder counter used for checking;
(4) Facsimile of a Wurlitzer relay and chest built to scale by Roy from measurements taken from his residence-installed Wurlitzer, Style 260, Opus 1173, originally installed in the Newman Theatre, Kansas City, Missouri; and
(5) a Wurlitzer Open Diapason pipe, G# number 33 on the 8' scale. It was chosen being near the middle of the compass and for its promptness of speed, a middle-of-the-road choice.

Wind was supplied to the facsimile relay and chest at 10" pressure from he organ blower, a 10-hp Orgoblo. Temperature was controlled at 68° Fahrenheit. Very thin Brown leather
and Zephyr skin was used to cover the pneumatics. The facsimile chest and relay were built with a side window for observation purposes.

The following input was important to the test results:
(1) Relay contact bar was set to travel ¹⁄₁₆" (¹⁄₃₂" open, ¹⁄₃₂" closed);
(2) Slack in the secondary chest pneumatic was made by cutting the flex material oversize to allow for ⁷⁄₆₄" travel of the striker felt before it hit the valve arm spoon; and (3) Magnetic travel of the magnet armature was set at ¹⁄₃₂" using a Wurlitzer Brass Plug magnet.

==Observations==
The speeds shown on the chart were an average of several readings. It was discovered that the complete relay (both primary and secondary pneumatics) continued to operate after action had ceased on the pipe valve, and continued to operate up to 1700 cycles/minute (28.3 cycles/second), the top limit of the test equipment. As a possible reference point, the speed of a Xylophone hammer was measured up to 700 cy/min (11.7 cy/sec). Bypassing its reiterating contact allowed it to be accelerated up to 800 cy/min (13.3 cy/sec) before it faded out. The term "faded out" refers to the failure of an action to follow the speed of the input. It was observed that the speed of the action (key contact through relay and chest) may be increased from 680 cy/min (11.3 cy/sec) to 1050 cy/min (17.5 cy/sec) (approximately 50%) by changing adjustments and pneumatic covering material. This fact emphasized the importance of correct adjustments for maximum performance.

==Comments==
A Wurlitzer relay/chest combination operates faster when ultimate adjustments obtain and when pneumatics are covered with Zephyr skin. However, the time elapse difference is minimal (1.5 cy/sec).

==Summary==
The fastest reiterating speed obtained by the pipe pallet valve in the chest, figure (a) on the chart, was 1150 cy/min (19.2 cy/sec). This was obtained by bypassing the relay with electrical input directly to the chest magnet. Zephyr skin was used on the primary and secondary pneumatics, with travel adjustments as noted.
The fastest reiterating speed using brown leather on the pneumatics was figure (b) on the chart, i.e., 1050 cy/min (17.5 cy/sec). This finding definitely proves that Zephyr skin-covered pneumatics are faster. However, the time elapse difference is minimal, i.e., 1.5 cy/sec.
Including the relay in the circuit produced the results as shown at figures (c) and (d). The time elapse difference is now much more significant, i.e., 4.2 cy/sec. This greater differ- ence reflects the operation time of the relay pneumatics and travel adjustments. It should also be noted that a combination of Zephyr and Brown leather in the pneumatic circuit increased the speed somewhat over that obtained using only Brown leather.
The question raised by the above-listed findings would naturally be the apparent result to an organist. With the assistance of Mr. Gordon Kibbee, noted organist and organ consultant, it was determined by tests he made that a manual key could be played at a Speed of 20 cy/sec, which extends to 1200 cy/min. This figure was obtained using two fingers, one on each hand, striking the same key. Using one finger only, the result was between 16 and 17 cy/sec. The differ- ences between the above and the relay/chest action results indicate a loose relationship between the demands of a competent organist and he response of the organ action.

== References ==
<references />

Wurlitzer Chest Repetition Speeds

2025-09-16T21:33:33Z

GabrielPeressini:

The following is a letter which first appeared in the March/April 1984 issue of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 26, no. 2, January/February 1984, p. 53. [https://www.atos.org/journal/issue/26/2]</ref>

The issue has been raised on page 21 of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 25, no. 5, September/October 1983, p. 21. [https://www.atos.org/journal/issue/25/5]</ref>, September/October 1983, about the speed of electro-pneumatic action. The subject has been discussed for many years without positive conclusions published. A few years ago my partner, Bob Jacobus, and I were visiting Roy Emison in Kansas City, Kansas. During a happy three-day visit this subject came up and as a result Roy agreed to set up the necessary test equipment to research the subject and try to establish conclusions based on reasonably accurate test procedures. On a subsequent visit, we three reviewed the test equipment and procedures that Roy had set up, and the results he obtained. We ran through the series of tests selecting at random to double-check Roy's findings. We all agreed that the results were as accurate as the testing equipment could produce.

The equipment used was:
(1) Strobotac stroboscopic tachometer used to measure speed without drag on the action;
(2) Stewart-Warner magnetic speed indicator;
(3) Veeder counter used for checking;
(4) Facsimile of a Wurlitzer relay and chest built to scale by Roy from measurements taken from his residence-installed Wurlitzer, Style 260, Opus 1173, originally installed in the Newman Theatre, Kansas City, Missouri; and
(5) a Wurlitzer Open Diapason pipe, G# number 33 on the 8' scale. It was chosen being near the middle of the compass and for its promptness of speed, a middle-of-the-road choice.

Wind was supplied to the facsimile relay and chest at 10" pressure from he organ blower, a 10-hp Orgoblo. Temperature was controlled at 68° Fahrenheit. Very thin Brown leather
and Zephyr skin was used to cover the pneumatics. The facsimile chest and relay were built with a side window for observation purposes.

The following input was important to the test results:
(1) Relay contact bar was set to travel ¹⁄₁₆" (¹⁄₃₂" open, ¹⁄₃₂" closed);
(2) Slack in the secondary chest pneumatic was made by cutting the flex material oversize to allow for ⁷⁄₆₄" travel of the striker felt before it hit the valve arm spoon; and (3) Magnetic travel of the magnet armature was set at ¹⁄₃₂" using a Wurlitzer Brass Plug magnet.

==Observations==
The speeds shown on the chart were an average of several readings. It was discovered that the complete relay (both primary and secondary pneumatics) continued to operate after action had ceased on the pipe valve, and continued to operate up to 1700 cycles/minute (28.3 cycles/second), the top limit of the test equipment. As a possible reference point, the speed of a Xylophone hammer was measured up to 700 cy/min (11.7 cy/sec). Bypassing its reiterating contact allowed it to be accelerated up to 800 cy/min (13.3 cy/sec) before it faded out. The term "faded out" refers to the failure of an action to follow the speed of the input. It was observed that the speed of the action (key contact through relay and chest) may be increased from 680 cy/min (11.3 cy/sec) to 1050 cy/min (17.5 cy/sec) (approximately 50%) by changing adjustments and pneumatic covering material. This fact emphasized the importance of correct adjustments for maximum performance.

==Comments==
A Wurlitzer relay/chest combination operates faster when ultimate adjustments obtain and when pneumatics are covered with Zephyr skin. However, the time elapse difference is minimal (1.5 cy/sec).

==Summary==
The fastest reiterating speed obtained by the pipe pallet valve in the chest, figure (a) on the chart, was 1150 cy/min (19.2 cy/sec). This was obtained by bypassing the relay with electrical input directly to the chest magnet. Zephyr skin was used on the primary and secondary pneumatics, with travel adjustments as noted.
The fastest reiterating speed using brown leather on the pneumatics was figure (b) on the chart, i.e., 1050 cy/min (17.5 cy/sec). This finding definitely proves that Zephyr skin-covered pneumatics are faster. However, the time elapse difference is minimal, i.e., 1.5 cy/sec.
Including the relay in the circuit produced the results as shown at figures (c) and (d). The time elapse difference is now much more significant, i.e., 4.2 cy/sec. This greater differ- ence reflects the operation time of the relay pneumatics and travel adjustments. It should also be noted that a combination of Zephyr and Brown leather in the pneumatic circuit increased the speed somewhat over that obtained using only Brown leather.
The question raised by the above-listed findings would naturally be the apparent result to an organist. With the assistance of Mr. Gordon Kibbee, noted organist and organ consultant, it was determined by tests he made that a manual key could be played at a Speed of 20 cy/sec, which extends to 1200 cy/min. This figure was obtained using two fingers, one on each hand, striking the same key. Using one finger only, the result was between 16 and 17 cy/sec. The differ- ences between the above and the relay/chest action results indicate a loose relationship between the demands of a competent organist and he response of the organ action.

== References ==
<references />

Wurlitzer Chest Repetition Speeds

2025-09-16T21:33:21Z

GabrielPeressini:

The following is a letter which first appeared in the March/April 1984 issue of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 26, no. 2, January/February 1984, p. 53. [https://www.atos.org/journal/issue/26/2]</ref>

The issue has been raised on page 21 of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 25, no. 5, September/October 1983, p. 21. [https://www.atos.org/journal/issue/25/5]</ref>, September/October 1983, about the speed of electro-pneumatic action. The subject has been discussed for many years without positive conclusions published. A few years ago my partner, Bob Jacobus, and I were visiting Roy Emison in Kansas City, Kansas. During a happy three-day visit this subject came up and as a result Roy agreed to set up the necessary test equipment to research the subject and try to establish conclusions based on reasonably accurate test procedures. On a subsequent visit, we three reviewed the test equipment and procedures that Roy had set up, and the results he obtained. We ran through the series of tests selecting at random to double-check Roy's findings. We all agreed that the results were as accurate as the testing equipment could produce.

The equipment used was:
(1) Strobotac stroboscopic tachometer used to measure speed without drag on the action;
(2) Stewart-Warner magnetic speed indicator;
(3) Veeder counter used for checking;
(4) Facsimile of a Wurlitzer relay and chest built to scale by Roy from measurements taken from his residence-installed Wurlitzer, Style 260, Opus 1173, originally installed in the Newman Theatre, Kansas City, Missouri; and
(5) a Wurlitzer Open Diapason pipe, G# number 33 on the 8' scale. It was chosen being near the middle of the compass and for its promptness of speed, a middle-of-the-road choice.

Wind was supplied to the facsimile relay and chest at 10" pressure from he organ blower, a 10-hp Orgoblo. Temperature was controlled at 68° Fahrenheit. Very thin Brown leather
and Zephyr skin was used to cover the pneumatics. The facsimile chest and relay were built with a side window for observation purposes.

The following input was important to the test results:
(1) Relay contact bar was set to travel ¹⁄₁₆" (¹⁄₃₂" open, ¹⁄₃₂" closed);
(2) Slack in the secondary chest pneumatic was made by cutting the flex material oversize to allow for ⁷⁄₆₄" travel of the striker felt before it hit the valve arm spoon; and (3) Magnetic travel of the magnet armature was set at ¹⁄₃₂" using a Wurlitzer Brass Plug magnet.

==Observations==
The speeds shown on the chart were an average of several readings. It was discovered that the complete relay (both primary and secondary pneumatics) continued to operate after action had ceased on the pipe valve, and continued to operate up to 1700 cycles/minute (28.3 cycles/second), the top limit of the test equipment. As a possible reference point, the speed of a Xylophone hammer was measured up to 700 cy/min (11.7 cy/sec). Bypassing its reiterating contact allowed it to be accelerated up to 800 cy/min (13.3 cy/sec) before it faded out. The term "faded out" refers to the failure of an action to follow the speed of the input. It was observed that the speed of the action (key contact through relay and chest) may be increased from 680 cy/min (11.3 cy/sec) to 1050 cy/min (17.5 cy/sec) (approximately 50%) by changing adjustments and pneumatic covering material. This fact emphasized the importance of correct adjustments for maximum performance.

==Comments==
A Wurlitzer relay/chest combination operates faster when ultimate adjustments obtain and when pneumatics are covered with Zephyr skin. However, the time elapse difference is minimal (1.5 cy/sec).

==Summary==
The fastest reiterating speed obtained by the pipe pallet valve in the chest, figure (a) on the chart, was 1150 cy/min (19.2 cy/sec). This was obtained by bypassing the relay with electrical input directly to the chest magnet. Zephyr skin was used on the primary and secondary pneumatics, with travel adjustments as noted.
The fastest reiterating speed using brown leather on the pneumatics was figure (b) on the chart, i.e., 1050 cy/min (17.5 cy/sec). This finding definitely proves that Zephyr skin-covered pneumatics are faster. However, the time elapse difference is minimal, i.e., 1.5 cy/sec.
Including the relay in the circuit produced the results as shown at figures (c) and (d). The time elapse difference is now much more significant, i.e., 4.2 cy/sec. This greater differ- ence reflects the operation time of the relay pneumatics and travel adjustments. It should also be noted that a combination of Zephyr and Brown leather in the pneumatic circuit increased the speed somewhat over that obtained using only Brown leather.
The question raised by the above-listed findings would naturally be the apparent result to an organist. With the assistance of Mr. Gordon Kibbee, noted organist and organ consultant, it was determined by tests he made that a manual key could be played at a Speed of 20 cy/sec, which extends to 1200 cy/min. This figure was obtained using two fingers, one on each hand, striking the same key. Using one finger only, the result was between 16 and 17 cy/sec. The differ- ences between the above and the relay/chest action results indicate a loose relationship between the demands of a competent organist and he response of the organ action.

== References ==
<references />

Wurlitzer Chest Repetition Speeds

2025-09-16T21:32:10Z

GabrielPeressini: /* SUMMARY */

Wurlitzer Chest Repetition Speeds

2025-09-16T21:32:03Z

GabrielPeressini: /* COMMENTS */

Wurlitzer Chest Repetition Speeds

2025-09-16T21:31:57Z

GabrielPeressini: /* OBSERVATIONS */

Wurlitzer Chest Repetition Speeds

2025-09-16T21:31:47Z

GabrielPeressini:

Wurlitzer Chest Repetition Speeds

2025-09-16T21:31:02Z

GabrielPeressini:

Wurlitzer Chest Repetition Speeds

2025-09-16T21:29:51Z

GabrielPeressini:

The issue was raised in ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 25, no. 5, September/October 1983, p. 21. [https://www.atos.org/journal/issue/25/5]</ref>

The following is a letter which first appeared in the March/April 1984 issue of ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 26, no. 2, January/February 1984, p. 10. [https://www.atos.org/journal/issue/26/2]</ref>

The issue has been raised on page 21 of THEATRE ORGAN, September/October 1983, about the speed of electro-pneumatic action. The subject has been discussed for many years without positive conclusions published. A few years ago my partner, Bob Jacobus, and I were visiting Roy Emison in Kansas City, Kansas. During a happy three-day visit this subject came up and as a result Roy agreed to set up the necessary test equipment to research the subject and try to establish conclusions based on reasonably accurate test procedures. On a subsequent visit, we three reviewed the test equipment and procedures that Roy had set up, and the results he obtained. We ran through the series of tests selecting at random to double-check Roy's findings. We all agreed that the results were as accurate as the testing equipment could produce.

The equipment used was:
(1) Strobotac stroboscopic tachometer used to measure speed without drag on the action;
(2) Stewart-Warner magnetic speed indicator;
(3) Veeder counter used for checking;
(4) Facsimile of a Wurlitzer relay and chest built to scale by Roy from measurements taken from his residence-installed Wurlitzer, Style 260, Opus 1173, originally installed in the Newman Theatre, Kansas City, Missouri; and
(5) a Wurlitzer Open Diapason pipe, G# number 33 on the 8' scale. It was chosen being near the middle of the compass and for its promptness of speed, a middle-of-the-road choice.

Wind was supplied to the facsimile relay and chest at 10" pressure from he organ blower, a 10-hp Orgoblo. Temperature was controlled at 68° Fahrenheit. Very thin Brown leather
and Zephyr skin was used to cover the pneumatics. The facsimile chest and relay were built with a side window for observation purposes.

The following input was important to the test results:
(1) Relay contact bar was set to travel ¹⁄₁₆" (¹⁄₃₂" open, ¹⁄₃₂" closed);
(2) Slack in the secondary chest pneumatic was made by cutting the flex material oversize to allow for ⁷⁄₆₄" travel of the striker felt before it hit the valve arm spoon; and (3) Magnetic travel of the magnet armature was set at ¹⁄₃₂" using a Wurlitzer Brass Plug magnet.

OBSERVATIONS
The speeds shown on the chart were an average of several readings. It was discovered that the complete relay (both primary and secondary pneumatics) continued to operate after action had ceased on the pipe valve, and continued to operate up to 1700 cycles/minute (28.3 cycles/second), the top limit of the test equipment. As a possible reference point, the speed of a Xylophone hammer was measured up to 700 cy/min (11.7 cy/sec). Bypassing its reiterating contact allowed it to be accelerated up to 800 cy/min (13.3 cy/sec) before it faded out. The term "faded out" refers to the failure of an action to follow the speed of the input. It was observed that the speed of the action (key contact through relay and chest) may be increased from 680 cy/min (11.3 cy/sec) to 1050 cy/min (17.5 cy/sec) (approximately 50%) by changing adjustments and pneumatic covering material. This fact emphasized the importance of correct adjustments for maximum performance.

COMMENTS
A Wurlitzer relay/chest combination operates faster when ultimate adjustments obtain and when pneumatics are covered with Zephyr skin. However, the time elapse difference is minimal (1.5 cy/sec).

SUMMARY
The fastest reiterating speed obtained by the pipe pallet valve in the chest, figure (a) on the chart, was 1150 cy/min (19.2 cy/sec). This was obtained by bypassing the relay with electrical input directly to the chest magnet. Zephyr skin was used on the primary and secondary pneumatics, with travel adjustments as noted.
The fastest reiterating speed using brown leather on the pneumatics was figure (b) on the chart, i.e., 1050 cy/min (17.5 cy/sec). This finding definitely proves that Zephyr skin-covered pneumatics are faster. However, the time elapse difference is minimal, i.e., 1.5 cy/sec.
Including the relay in the circuit produced the results as shown at figures (c) and (d). The time elapse difference is now much more significant, i.e., 4.2 cy/sec. This greater differ- ence reflects the operation time of the relay pneumatics and travel adjustments. It should also be noted that a combination of Zephyr and Brown leather in the pneumatic circuit increased the speed somewhat over that obtained using only Brown leather.
The question raised by the above-listed findings would naturally be the apparent result to an organist. With the assistance of Mr. Gordon Kibbee, noted organist and organ consultant, it was determined by tests he made that a manual key could be played at a Speed of 20 cy/sec, which extends to 1200 cy/min. This figure was obtained using two fingers, one on each hand, striking the same key. Using one finger only, the result was between 16 and 17 cy/sec. The differ- ences between the above and the relay/chest action results indicate a loose relationship between the demands of a competent organist and he response of the organ action.

== References ==
<references />

Wurlitzer Chest Repetition Speeds

2025-09-16T21:29:35Z

GabrielPeressini:

The issue was raised in ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 25, no. 5, September/October 1983, p. 21. [https://www.atos.org/journal/issue/25/5]</ref>

The following is a letter which first appeared in the March/April 1984 issue of .<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 26, no. 2, January/February 1984, p. 10. [https://www.atos.org/journal/issue/26/2]</ref>

The issue has been raised on page 21 of THEATRE ORGAN, September/October 1983, about the speed of electro-pneumatic action. The subject has been discussed for many years without positive conclusions published. A few years ago my partner, Bob Jacobus, and I were visiting Roy Emison in Kansas City, Kansas. During a happy three-day visit this subject came up and as a result Roy agreed to set up the necessary test equipment to research the subject and try to establish conclusions based on reasonably accurate test procedures. On a subsequent visit, we three reviewed the test equipment and procedures that Roy had set up, and the results he obtained. We ran through the series of tests selecting at random to double-check Roy's findings. We all agreed that the results were as accurate as the testing equipment could produce.

The equipment used was:
(1) Strobotac stroboscopic tachometer used to measure speed without drag on the action;
(2) Stewart-Warner magnetic speed indicator;
(3) Veeder counter used for checking;
(4) Facsimile of a Wurlitzer relay and chest built to scale by Roy from measurements taken from his residence-installed Wurlitzer, Style 260, Opus 1173, originally installed in the Newman Theatre, Kansas City, Missouri; and
(5) a Wurlitzer Open Diapason pipe, G# number 33 on the 8' scale. It was chosen being near the middle of the compass and for its promptness of speed, a middle-of-the-road choice.

Wind was supplied to the facsimile relay and chest at 10" pressure from he organ blower, a 10-hp Orgoblo. Temperature was controlled at 68° Fahrenheit. Very thin Brown leather
and Zephyr skin was used to cover the pneumatics. The facsimile chest and relay were built with a side window for observation purposes.

The following input was important to the test results:
(1) Relay contact bar was set to travel ¹⁄₁₆" (¹⁄₃₂" open, ¹⁄₃₂" closed);
(2) Slack in the secondary chest pneumatic was made by cutting the flex material oversize to allow for ⁷⁄₆₄" travel of the striker felt before it hit the valve arm spoon; and (3) Magnetic travel of the magnet armature was set at ¹⁄₃₂" using a Wurlitzer Brass Plug magnet.

OBSERVATIONS
The speeds shown on the chart were an average of several readings. It was discovered that the complete relay (both primary and secondary pneumatics) continued to operate after action had ceased on the pipe valve, and continued to operate up to 1700 cycles/minute (28.3 cycles/second), the top limit of the test equipment. As a possible reference point, the speed of a Xylophone hammer was measured up to 700 cy/min (11.7 cy/sec). Bypassing its reiterating contact allowed it to be accelerated up to 800 cy/min (13.3 cy/sec) before it faded out. The term "faded out" refers to the failure of an action to follow the speed of the input. It was observed that the speed of the action (key contact through relay and chest) may be increased from 680 cy/min (11.3 cy/sec) to 1050 cy/min (17.5 cy/sec) (approximately 50%) by changing adjustments and pneumatic covering material. This fact emphasized the importance of correct adjustments for maximum performance.

COMMENTS
A Wurlitzer relay/chest combination operates faster when ultimate adjustments obtain and when pneumatics are covered with Zephyr skin. However, the time elapse difference is minimal (1.5 cy/sec).

SUMMARY
The fastest reiterating speed obtained by the pipe pallet valve in the chest, figure (a) on the chart, was 1150 cy/min (19.2 cy/sec). This was obtained by bypassing the relay with electrical input directly to the chest magnet. Zephyr skin was used on the primary and secondary pneumatics, with travel adjustments as noted.
The fastest reiterating speed using brown leather on the pneumatics was figure (b) on the chart, i.e., 1050 cy/min (17.5 cy/sec). This finding definitely proves that Zephyr skin-covered pneumatics are faster. However, the time elapse difference is minimal, i.e., 1.5 cy/sec.
Including the relay in the circuit produced the results as shown at figures (c) and (d). The time elapse difference is now much more significant, i.e., 4.2 cy/sec. This greater differ- ence reflects the operation time of the relay pneumatics and travel adjustments. It should also be noted that a combination of Zephyr and Brown leather in the pneumatic circuit increased the speed somewhat over that obtained using only Brown leather.
The question raised by the above-listed findings would naturally be the apparent result to an organist. With the assistance of Mr. Gordon Kibbee, noted organist and organ consultant, it was determined by tests he made that a manual key could be played at a Speed of 20 cy/sec, which extends to 1200 cy/min. This figure was obtained using two fingers, one on each hand, striking the same key. Using one finger only, the result was between 16 and 17 cy/sec. The differ- ences between the above and the relay/chest action results indicate a loose relationship between the demands of a competent organist and he response of the organ action.

== References ==
<references />

Wurlitzer Chest Repetition Speeds

2025-09-16T21:12:35Z

GabrielPeressini:

The issue was raised in ''Theatre Organ''.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 25, no. 5, September/October 1983, p. 21. [https://www.atos.org/journal/issue/25/5]</ref>

A related discussion appears in a later issue.<ref>''Theatre Organ''. American Theatre Organ Society. Vol. 26, no. 2, January/February 1984, p. 10. [https://www.atos.org/journal/issue/26/2]</ref>

The issue has been raised on page 21 of THEATRE ORGAN, September/October 1983, about the speed of electro-pneumatic action. The subject has been discussed for many years without positive conclusions published. A few years ago my partner, Bob Jacobus, and I were visiting Roy Emison in Kansas City, Kansas. During a happy three-day visit this subject came up and as a result Roy agreed to set up the necessary test equipment to research the subject and try to establish conclusions based on reasonably accurate test procedures. On a subsequent visit, we three reviewed the test equipment and procedures that Roy had set up, and the results he obtained. We ran through the series of tests selecting at random to double-check Roy's findings. We all agreed that the results were as accurate as the testing equipment could produce.

The equipment used was:
(1) Strobotac stroboscopic tachometer used to measure speed without drag on the action;
(2) Stewart-Warner magnetic speed indicator;
(3) Veeder counter used for checking;
(4) Facsimile of a Wurlitzer relay and chest built to scale by Roy from measurements taken from his residence-installed Wurlitzer, Style 260, Opus 1173, originally installed in the Newman Theatre, Kansas City, Missouri; and
(5) a Wurlitzer Open Diapason pipe, G# number 33 on the 8' scale. It was chosen being near the middle of the compass and for its promptness of speed, a middle-of-the-road choice.

Wind was supplied to the facsimile relay and chest at 10" pressure from he organ blower, a 10-hp Orgoblo. Temperature was controlled at 68° Fahrenheit. Very thin Brown leather
and Zephyr skin was used to cover the pneumatics. The facsimile chest and relay were built with a side window for observation purposes.

The following input was important to the test results:
(1) Relay contact bar was set to travel ¹⁄₁₆" (¹⁄₃₂" open, ¹⁄₃₂" closed);
(2) Slack in the secondary chest pneumatic was made by cutting the flex material oversize to allow for ⁷⁄₆₄" travel of the striker felt before it hit the valve arm spoon; and (3) Magnetic travel of the magnet armature was set at ¹⁄₃₂" using a Wurlitzer Brass Plug magnet.

OBSERVATIONS
The speeds shown on the chart were an average of several readings. It was discovered that the complete relay (both primary and secondary pneumatics) continued to operate after action had ceased on the pipe valve, and continued to operate up to 1700 cycles/minute (28.3 cycles/second), the top limit of the test equipment. As a possible reference point, the speed of a Xylophone hammer was measured up to 700 cy/min (11.7 cy/sec). Bypassing its reiterating contact allowed it to be accelerated up to 800 cy/min (13.3 cy/sec) before it faded out. The term "faded out" refers to the failure of an action to follow the speed of the input. It was observed that the speed of the action (key contact through relay and chest) may be increased from 680 cy/min (11.3 cy/sec) to 1050 cy/min (17.5 cy/sec) (approximately 50%) by changing adjustments and pneumatic covering material. This fact emphasized the importance of correct adjustments for maximum performance.

COMMENTS
A Wurlitzer relay/chest combination operates faster when ultimate adjustments obtain and when pneumatics are covered with Zephyr skin. However, the time elapse difference is minimal (1.5 cy/sec).

SUMMARY
The fastest reiterating speed obtained by the pipe pallet valve in the chest, figure (a) on the chart, was 1150 cy/min (19.2 cy/sec). This was obtained by bypassing the relay with electrical input directly to the chest magnet. Zephyr skin was used on the primary and secondary pneumatics, with travel adjustments as noted.
The fastest reiterating speed using brown leather on the pneumatics was figure (b) on the chart, i.e., 1050 cy/min (17.5 cy/sec). This finding definitely proves that Zephyr skin-covered pneumatics are faster. However, the time elapse difference is minimal, i.e., 1.5 cy/sec.
Including the relay in the circuit produced the results as shown at figures (c) and (d). The time elapse difference is now much more significant, i.e., 4.2 cy/sec. This greater differ- ence reflects the operation time of the relay pneumatics and travel adjustments. It should also be noted that a combination of Zephyr and Brown leather in the pneumatic circuit increased the speed somewhat over that obtained using only Brown leather.
The question raised by the above-listed findings would naturally be the apparent result to an organist. With the assistance of Mr. Gordon Kibbee, noted organist and organ consultant, it was determined by tests he made that a manual key could be played at a Speed of 20 cy/sec, which extends to 1200 cy/min. This figure was obtained using two fingers, one on each hand, striking the same key. Using one finger only, the result was between 16 and 17 cy/sec. The differ- ences between the above and the relay/chest action results indicate a loose relationship between the demands of a competent organist and he response of the organ action.

== References ==
<references />

Wurlitzer Chest Repetition Speeds

2025-09-16T21:11:45Z

GabrielPeressini:

The issue was raised in ''Theatre Organ''.<ref name="TO1983">{{cite journal
|title=Theatre Organ
|journal=Theatre Organ
|volume=25
|issue=5
|publisher=American Theatre Organ Society
|date=September/October 1983
|url=https://www.atos.org/journal/issue/25/5
|page=21
}}</ref>

A related discussion appears in a later issue.<ref name="TO1984">{{cite journal
|title=Theatre Organ
|journal=Theatre Organ
|volume=26
|issue=2
|publisher=American Theatre Organ Society
|date=January/February 1984
|url=https://www.atos.org/journal/issue/26/2
|page=10
}}</ref>

== References ==
<references />

The issue has been raised on page 21 of THEATRE ORGAN, September/October 1983, about the speed of electro-pneumatic action. The subject has been discussed for many years without positive conclusions published. A few years ago my partner, Bob Jacobus, and I were visiting Roy Emison in Kansas City, Kansas. During a happy three-day visit this subject came up and as a result Roy agreed to set up the necessary test equipment to research the subject and try to establish conclusions based on reasonably accurate test procedures. On a subsequent visit, we three reviewed the test equipment and procedures that Roy had set up, and the results he obtained. We ran through the series of tests selecting at random to double-check Roy's findings. We all agreed that the results were as accurate as the testing equipment could produce.

The equipment used was:
(1) Strobotac stroboscopic tachometer used to measure speed without drag on the action;
(2) Stewart-Warner magnetic speed indicator;
(3) Veeder counter used for checking;
(4) Facsimile of a Wurlitzer relay and chest built to scale by Roy from measurements taken from his residence-installed Wurlitzer, Style 260, Opus 1173, originally installed in the Newman Theatre, Kansas City, Missouri; and
(5) a Wurlitzer Open Diapason pipe, G# number 33 on the 8' scale. It was chosen being near the middle of the compass and for its promptness of speed, a middle-of-the-road choice.

Wind was supplied to the facsimile relay and chest at 10" pressure from he organ blower, a 10-hp Orgoblo. Temperature was controlled at 68° Fahrenheit. Very thin Brown leather
and Zephyr skin was used to cover the pneumatics. The facsimile chest and relay were built with a side window for observation purposes.

The following input was important to the test results:
(1) Relay contact bar was set to travel ¹⁄₁₆" (¹⁄₃₂" open, ¹⁄₃₂" closed);
(2) Slack in the secondary chest pneumatic was made by cutting the flex material oversize to allow for ⁷⁄₆₄" travel of the striker felt before it hit the valve arm spoon; and (3) Magnetic travel of the magnet armature was set at ¹⁄₃₂" using a Wurlitzer Brass Plug magnet.

OBSERVATIONS
The speeds shown on the chart were an average of several readings. It was discovered that the complete relay (both primary and secondary pneumatics) continued to operate after action had ceased on the pipe valve, and continued to operate up to 1700 cycles/minute (28.3 cycles/second), the top limit of the test equipment. As a possible reference point, the speed of a Xylophone hammer was measured up to 700 cy/min (11.7 cy/sec). Bypassing its reiterating contact allowed it to be accelerated up to 800 cy/min (13.3 cy/sec) before it faded out. The term "faded out" refers to the failure of an action to follow the speed of the input. It was observed that the speed of the action (key contact through relay and chest) may be increased from 680 cy/min (11.3 cy/sec) to 1050 cy/min (17.5 cy/sec) (approximately 50%) by changing adjustments and pneumatic covering material. This fact emphasized the importance of correct adjustments for maximum performance.

COMMENTS
A Wurlitzer relay/chest combination operates faster when ultimate adjustments obtain and when pneumatics are covered with Zephyr skin. However, the time elapse difference is minimal (1.5 cy/sec).

SUMMARY
The fastest reiterating speed obtained by the pipe pallet valve in the chest, figure (a) on the chart, was 1150 cy/min (19.2 cy/sec). This was obtained by bypassing the relay with electrical input directly to the chest magnet. Zephyr skin was used on the primary and secondary pneumatics, with travel adjustments as noted.
The fastest reiterating speed using brown leather on the pneumatics was figure (b) on the chart, i.e., 1050 cy/min (17.5 cy/sec). This finding definitely proves that Zephyr skin-covered pneumatics are faster. However, the time elapse difference is minimal, i.e., 1.5 cy/sec.
Including the relay in the circuit produced the results as shown at figures (c) and (d). The time elapse difference is now much more significant, i.e., 4.2 cy/sec. This greater differ- ence reflects the operation time of the relay pneumatics and travel adjustments. It should also be noted that a combination of Zephyr and Brown leather in the pneumatic circuit increased the speed somewhat over that obtained using only Brown leather.
The question raised by the above-listed findings would naturally be the apparent result to an organist. With the assistance of Mr. Gordon Kibbee, noted organist and organ consultant, it was determined by tests he made that a manual key could be played at a Speed of 20 cy/sec, which extends to 1200 cy/min. This figure was obtained using two fingers, one on each hand, striking the same key. Using one finger only, the result was between 16 and 17 cy/sec. The differ- ences between the above and the relay/chest action results indicate a loose relationship between the demands of a competent organist and he response of the organ action.

Wurlitzer Chest Repetition Speeds

2025-09-16T21:06:06Z

GabrielPeressini: Created page with "The issue has been raised on page 21 of THEATRE ORGAN, September/October 1983, about the speed of electro-pneumatic action. The subject has been discussed for many years without positive conclusions published. A few years ago my partner, Bob Jacobus, and I were visiting Roy Emison in Kansas City, Kansas. During a happy three-day visit this subject came up and as a result Roy agreed to set up the necessary test equipment to research the subject and try to establish conclu..."

The issue has been raised on page 21 of THEATRE ORGAN, September/October 1983, about the speed of electro-pneumatic action. The subject has been discussed for many years without positive conclusions published. A few years ago my partner, Bob Jacobus, and I were visiting Roy Emison in Kansas City, Kansas. During a happy three-day visit this subject came up and as a result Roy agreed to set up the necessary test equipment to research the subject and try to establish conclusions based on reasonably accurate test procedures. On a subsequent visit, we three reviewed the test equipment and procedures that Roy had set up, and the results he obtained. We ran through the series of tests selecting at random to double-check Roy's findings. We all agreed that the results were as accurate as the testing equipment could produce.

The equipment used was:
(1) Strobotac stroboscopic tachometer used to measure speed without drag on the action;
(2) Stewart-Warner magnetic speed indicator;
(3) Veeder counter used for checking;
(4) Facsimile of a Wurlitzer relay and chest built to scale by Roy from measurements taken from his residence-installed Wurlitzer, Style 260, Opus 1173, originally installed in the Newman Theatre, Kansas City, Missouri; and
(5) a Wurlitzer Open Diapason pipe, G# number 33 on the 8' scale. It was chosen being near the middle of the compass and for its promptness of speed, a middle-of-the-road choice.

Wind was supplied to the facsimile relay and chest at 10" pressure from he organ blower, a 10-hp Orgoblo. Temperature was controlled at 68° Fahrenheit. Very thin Brown leather
and Zephyr skin was used to cover the pneumatics. The facsimile chest and relay were built with a side window for observation purposes.

The following input was important to the test results:
(1) Relay contact bar was set to travel ¹⁄₁₆" (¹⁄₃₂" open, ¹⁄₃₂" closed);
(2) Slack in the secondary chest pneumatic was made by cutting the flex material oversize to allow for ⁷⁄₆₄" travel of the striker felt before it hit the valve arm spoon; and (3) Magnetic travel of the magnet armature was set at ¹⁄₃₂" using a Wurlitzer Brass Plug magnet.

OBSERVATIONS
The speeds shown on the chart were an average of several readings. It was discovered that the complete relay (both primary and secondary pneumatics) continued to operate after action had ceased on the pipe valve, and continued to operate up to 1700 cycles/minute (28.3 cycles/second), the top limit of the test equipment. As a possible reference point, the speed of a Xylophone hammer was measured up to 700 cy/min (11.7 cy/sec). Bypassing its reiterating contact allowed it to be accelerated up to 800 cy/min (13.3 cy/sec) before it faded out. The term "faded out" refers to the failure of an action to follow the speed of the input. It was observed that the speed of the action (key contact through relay and chest) may be increased from 680 cy/min (11.3 cy/sec) to 1050 cy/min (17.5 cy/sec) (approximately 50%) by changing adjustments and pneumatic covering material. This fact emphasized the importance of correct adjustments for maximum performance.

COMMENTS
A Wurlitzer relay/chest combination operates faster when ultimate adjustments obtain and when pneumatics are covered with Zephyr skin. However, the time elapse difference is minimal (1.5 cy/sec).

SUMMARY
The fastest reiterating speed obtained by the pipe pallet valve in the chest, figure (a) on the chart, was 1150 cy/min (19.2 cy/sec). This was obtained by bypassing the relay with electrical input directly to the chest magnet. Zephyr skin was used on the primary and secondary pneumatics, with travel adjustments as noted.
The fastest reiterating speed using brown leather on the pneumatics was figure (b) on the chart, i.e., 1050 cy/min (17.5 cy/sec). This finding definitely proves that Zephyr skin-covered pneumatics are faster. However, the time elapse difference is minimal, i.e., 1.5 cy/sec.
Including the relay in the circuit produced the results as shown at figures (c) and (d). The time elapse difference is now much more significant, i.e., 4.2 cy/sec. This greater differ- ence reflects the operation time of the relay pneumatics and travel adjustments. It should also be noted that a combination of Zephyr and Brown leather in the pneumatic circuit increased the speed somewhat over that obtained using only Brown leather.
The question raised by the above-listed findings would naturally be the apparent result to an organist. With the assistance of Mr. Gordon Kibbee, noted organist and organ consultant, it was determined by tests he made that a manual key could be played at a Speed of 20 cy/sec, which extends to 1200 cy/min. This figure was obtained using two fingers, one on each hand, striking the same key. Using one finger only, the result was between 16 and 17 cy/sec. The differ- ences between the above and the relay/chest action results indicate a loose relationship between the demands of a competent organist and he response of the organ action.

File:FrankLanterman-StateTheatreMelbourneAustralia.jpeg

2025-08-21T16:40:14Z

GabrielPeressini: Prior to installation, organist Frank Lanterman holds the smallest pipe while lying down inside the largest pipe, a 32-foot wood diaphone. #Wurlitzer Opus 1987 at State Theatre, Melbourne, Australia.

== Summary ==
Prior to installation, organist Frank Lanterman holds the smallest pipe while lying down inside the largest pipe, a 32-foot wood diaphone. #Wurlitzer Opus 1987 at State Theatre, Melbourne, Australia.

Main Page

2025-08-21T16:37:16Z

GabrielPeressini:

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Main Page

2025-08-21T16:37:07Z

GabrielPeressini:

File:WurlitzerConsolePneumatics4.svg

2025-08-15T00:58:54Z

GabrielPeressini:

File:WurlitzerConsolePneumatics3.svg

2025-08-15T00:58:34Z

GabrielPeressini:

File:WurlitzerConsolePneumatics2.svg

2025-08-15T00:57:32Z

GabrielPeressini:

File:WurlitzerConsolePneumatics.svg

2025-08-15T00:54:24Z

GabrielPeressini: GabrielPeressini uploaded a new version of File:WurlitzerConsolePneumatics.svg

File:WurlitzerConsolePneumatics.svg

2025-08-15T00:50:19Z

GabrielPeressini:

File:WurlitzerConsolePneumatics.pdf

2025-08-15T00:47:39Z

GabrielPeressini:

Wurlitzer Style 190

2025-07-21T20:37:04Z

GabrielPeressini:

{| class="infobox" style="width: 320px; float: right; border: 1px solid #aaa; background-color: #f9f9f9; font-size: 90%;"
|+ style="font-size: 110%; font-weight: bold; background-color: #ccc; text-align: center;" | Wurlitzer Style 190
|-
! Console Type
| {{{console_type|Curved Console}}}
|-
! Bolsters
| {{{bolsters|1}}}
|-
! Manuals
| {{{manuals|2}}}
|-
! Ranks
| {{{ranks|8}}}
|-
! Tuned Percussions
| {{{percussions|4}}}
|-
! Traps
| {{{traps|18}}}

|-
! colspan="2" style="background-color:#ddd;" | Rank Information
|-
| colspan="2" |
{| class="wikitable" style="width:100%; font-size:90%; text-align: center;"
! Rank Name !! Lowest Pitch !! Notes
|-
| [[Trumpet_(Rank)|Trumpet]] || 8' || 61 Pipes
|-
| [[Open Diapason_(Rank)|Open Diapason]] || 16' || 85 Pipes
|-
| [[Tibia Clausa_(Rank)|Tibia Clausa]] || 8' || 85 Pipes
|-
| [[Clarinet_(Rank)|Clarinet]] || 8' || 61 Pipes
|-
| [[Violin_(Rank)|Violin]] || 8' || 73 Pipes
|-
| [[Celeste_(Rank)|Violin Celeste (TC)]] || 8' || 61 Pipes
|-
| [[Flute_(Rank)|Flute]] || 16' || 97 Pipes
|-
| [[Vox Humana_(Rank)|Vox Humana]] || 8' || 61 Pipes
|-
| [[Cathedral Chimes|Cathedral Chimes]] || || 18 Notes
|-
| [[Xylophone|Xylophone]] || || 37 Notes
|-
| [[Glockenspiel|Glockenspiel]] || || 30 Notes
|-
| [[Chrysoglott|Chrysoglott]] || || 49 Notes
|}
|-
! colspan="2" | <hr />
|-
! Toe Pistons
| {{{Toe Pistons| Horse Hoofs Surf Bird Siren Auto Horn Fire Gong Fire Gong (re-it) Steamboat Whistle Machine Gun}}}
|-
! colspan="2" | <hr />
|-
! Push Button
| {{{PushButtons| Door Bell }}}
|}

== Layout – Manuals & Touches ==

{| class="wikitable" style="vertical-align:bottom;"
|- style="font-style:italic; font-weight:bold; text-align:center; vertical-align:middle;"
! Pedal
! Accompaniment
! Accompaniment Second Touch
! Solo
! Solo Second Touch
! Tremulants
|- style="text-align:center; vertical-align:middle;"
| style="background-color:#F9F9F9; text-align:left;" |
| colspan="2" style="background-color:#F9F9F9; color:#202122;" | 5 Adjustable Combination Pistons (Accomp and Pedal)
| colspan="2" style="background-color:#F9F9F9; color:#202122;" | 5 Adjustable Combination Pistons (Solo and Pedal)
| style="vertical-align:bottom; text-align:left;" |
|- style="background-color:#F9F9F9; color:#202122;"
| 16' Bass
| 16' Contra Viol (TC)
| style="background-color:#F00;" | 8' Trumpet
| 16' Bass
| style="background-color:#F00;" | 16' Trumpet (TC)
| Main
|- style="background-color:#F9F9F9; color:#202122;"
| 16' Bourdon
| style="background-color:#F00;" | 16' Vox Humana (TC)
| 8' Tibia Clausa
| 16' Tibia Clausa (TC)
| 8' Tibia Clausa
| Tibia Clausa
|- style="background-color:#F00; color:#202122;"
| 8' Trumpet
| 8' Trumpet
| 8' Clarinet
| style="background-color:#F9F9F9;" | 16' Bourdon
| 8' Clarinet
| style="background-color:#F9F9F9;" | Vox Humana
|-
| style="background-color:#F9F9F9; color:#202122;" | 8' Open Diapason
| style="background-color:#F9F9F9; color:#202122;" | 8' Open Diapason
| style="background-color:#F9F9F9; color:#202122;" | Cathedral Chimes
| style="background-color:#F00; color:#202122;" | 16' Vox Humana (TC)
|
|
|-
| style="background-color:#F9F9F9; color:#202122;" | 8' Tibia Clausa
| style="background-color:#F9F9F9; color:#202122;" | 8' Tibia Clausa
| style="background-color:#F9F9F9; color:#202122;" | Triangle
| style="background-color:#F00; color:#202122;" | 8' Trumpet
|
|
|-
| style="background-color:#F00; color:#202122;" | 8' Clarinet
| style="background-color:#F00; color:#202122;" | 8' Clarinet
|
| style="background-color:#F9F9F9; color:#202122;" | 8' Open Diapason
|
|
|-
| style="background-color:#FBBC04; color:#202122;" | 8' Cello
| style="background-color:#F9F9F9; color:#202122;" | 8' Violin
|
| style="background-color:#F9F9F9; color:#202122;" | 8' Tibia Clausa
|
|
|-
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
| style="background-color:#FBBC04; color:#202122;" | 8' Violin Celeste (TC)
|
| style="background-color:#F00; color:#202122;" | 8' Clarinet
|
|
|-
| style="background-color:#F9F9F9; color:#202122;" | Bass Drum
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
|
| style="background-color:#F9F9F9; color:#202122;" | 8' Violin
|
|
|-
| style="background-color:#F9F9F9; color:#202122;" | Kettle Drum
| style="background-color:#F00; color:#202122;" | 8' Vox Humana
|
| style="background-color:#FBBC04; color:#202122;" | 8' Violin Celeste (TC)
|
|
|-
| style="background-color:#F9F9F9; color:#202122;" | Cymbal
| style="background-color:#F9F9F9; color:#202122;" | 4' Octave
|
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
|
|
|-
| style="background-color:#F9F9F9; color:#202122;" | Crash Cymbal
| style="background-color:#F9F9F9; color:#202122;" | 4' Piccolo
|
| style="background-color:#F00; color:#202122;" | 8' Vox Humana
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Octave Viol
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Octave
|
|
|-
|
| style="background-color:#FBBC04; color:#202122;" | 4' Viol Celeste
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Piccolo
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Flute
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Octave Viol
|
|
|-
|
| style="background-color:#F00; color:#202122;" | 4' Vox Humana
|
| style="background-color:#FBBC04; color:#202122;" | 4' Viol Celeste
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | 2' Piccolo
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Flute
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Chrysoglott
|
| style="background-color:#F9F9F9; color:#202122;" | 2 2⁄3' Twelfth
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Snare Drum
|
| style="background-color:#F9F9F9; color:#202122;" | 2' Piccolo
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Tambourine
|
| style="background-color:#F9F9F9; color:#202122;" | 1 3⁄5' Tierce
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Castanets
|
| style="background-color:#F9F9F9; color:#202122;" | Cathedral Chimes
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Chinese Block
|
| style="background-color:#F9F9F9; color:#202122;" | Xylophone
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Tom Tom
|
| style="background-color:#F9F9F9; color:#202122;" | Glockenspiel
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Sleigh Bells
|
| style="background-color:#F9F9F9; color:#202122;" | Chrysoglott
|
|
|}

== List of Known Installations ==

{| class="wikitable sortable"
! Opus
! Year Installed
! Location
! City
! State
! Country
! Style
! Wiring Schedule
|-
| [[Wurlitzer Opus 1395|1395]]
|
| [[Wurlitzer Opus 1395|Jackson / Capitol Theatre]]
| York
| Pennsylvania
| U.S.A.
| 190 3M
| [[Wurlitzer Wiring Schedule 750|750]]
|-
| [[Wurlitzer Opus 1447|1447]]
|
| [[Wurlitzer Opus 1447|Kearny Theatre]]
| Kearny
| New Jersey
| U.S.A.
| 190
| [[Wurlitzer Wiring Schedule 760|760]]
|-
| [[Wurlitzer Opus 1468|1468]]
|
| [[Wurlitzer Opus 1468|Cranford Theatre]]
| Cranford
| New Jersey
| U.S.A.
| 190
| [[Wurlitzer Wiring Schedule 760|760]]
|-
| [[Wurlitzer Opus 1493|1493]]
|
| [[Wurlitzer Opus 1493|Crandall Theatre]]
| Frederick
| Maryland
| U.S.A.
| 190 SP
| [[Wurlitzer Wiring Schedule 773|773]]
|-
| [[Wurlitzer Opus 1499|1499]]
|
| [[Wurlitzer Opus 1499|Jerome Theatre]]
| Bronx
| New York
| U.S.A.
| 190 SP
| [[Wurlitzer Wiring Schedule 754|754]]
|-
| [[Wurlitzer Opus 1551|1551]]
|
| [[Wurlitzer Opus 1551|172 St 3Rd Ave Theatre]]
| Bronx
| New York
| U.S.A.
| 190
| [[Wurlitzer Wiring Schedule 760|760]]
|-
| [[Wurlitzer Opus 1596|1596]]
|
| [[Wurlitzer Opus 1596|Glove]]
| Gloversville
| New York
| U.S.A.
| 190
| [[Wurlitzer Wiring Schedule 760|760]]
|-
| [[Wurlitzer Opus 1613|1613]]
|
| [[Wurlitzer Opus 1613|Marbro Theatre]]
| Brooklyn
| New York
| U.S.A.
| 190
| [[Wurlitzer Wiring Schedule 760|760]]
|-
| [[Wurlitzer Opus 1632|1632]]
|
| [[Wurlitzer Opus 1632|Poncan Theatre]]
| Ponca City
| Oklahoma
| U.S.A.
| 190
| [[Wurlitzer Wiring Schedule 760|760]]
|-
| [[Wurlitzer Opus 1661|1661]]
|
| [[Wurlitzer Opus 1661|Capital Theatre]]
| Revere
| Massachusetts
| U.S.A.
| 190
| [[Wurlitzer Wiring Schedule 760|760]]
|-
| [[Wurlitzer Opus 1673|1673]]
|
| [[Wurlitzer Opus 1673|Commodore Theatre]]
| Cleveland
| Ohio
| U.S.A.
| 190
| [[Wurlitzer Wiring Schedule 760|760]]
|-
| [[Wurlitzer Opus 1697|1697]]
|
| [[Wurlitzer Opus 1697|Community Theatre]]
| Dedham
| Massachusetts
| U.S.A.
| 190 SP
| [[Wurlitzer Wiring Schedule 838|838]]
|-
| [[Wurlitzer Opus 1711|1711]]
|
| [[Wurlitzer Opus 1711|Cameo Theatre]]
| Bristol
| Connecticut
| U.S.A.
| 190
| [[Wurlitzer Wiring Schedule 760|760]]
|-
| [[Wurlitzer Opus 1727|1727]]
|
| [[Wurlitzer Opus 1727|Narberth Theatre]]
| Narberth
| Pennsylvania
| U.S.A.
| 190 3M
|
|-
| [[Wurlitzer Opus 1735|1735]]
|
| [[Wurlitzer Opus 1735|Orpheum Theatre]]
| Kansas City
| Missouri
| U.S.A.
| 190
| [[Wurlitzer Wiring Schedule 760|760]]
|-
| [[Wurlitzer Opus 1738|1738]]
|
| [[Wurlitzer Opus 1738|Colonial Theatre]]
| Phoenixville
| Pennsylvania
| U.S.A.
| 190 3M
| [[Wurlitzer Wiring Schedule 834|834]]
|-
| [[Wurlitzer Opus 1741|1741]]
|
| [[Wurlitzer Opus 1741|Regent Theatre]]
| Elmira
| New York
| U.S.A.
| 190
| [[Wurlitzer Wiring Schedule 760|760]]
|-
| [[Wurlitzer Opus 1742|1742]]
|
| [[Wurlitzer Opus 1742|Empire Theatre]]
| Brooklyn
| New York
| U.S.A.
| 190
| [[Wurlitzer Wiring Schedule 760|760]]
|-
| [[Wurlitzer Opus 1751|1751]]
|
| [[Wurlitzer Opus 1751|Store]]
| Cincinnati
| Ohio
| U.S.A.
| 190
| [[Wurlitzer Wiring Schedule 760|760]]
|-
| [[Wurlitzer Opus 1763|1763]]
|
| [[Wurlitzer Opus 1763|Empire Theatre]]
| Montgomery
| Alabama
| U.S.A.
| 190 SP
| [[Wurlitzer Wiring Schedule 863|863]]
|-
| [[Wurlitzer Opus 1789|1789]]
|
| [[Wurlitzer Opus 1789|Jennings Theatre]]
| Cleveland
| Ohio
| U.S.A.
| 190
| [[Wurlitzer Wiring Schedule 760|760]]
|-
| [[Wurlitzer Opus 1812|1812]]
|
| [[Wurlitzer Opus 1812|Pontiac Theatre]]
| Saranac Lk
| New York
| U.S.A.
| 190
| [[Wurlitzer Wiring Schedule 760|760]]
|-
| [[Wurlitzer Opus 1829|1829]]
|
| [[Wurlitzer Opus 1829|La Salle Theatre]]
| Cleveland
| Ohio
| U.S.A.
| 190
| [[Wurlitzer Wiring Schedule 892|892]]
|-
| [[Wurlitzer Opus 1852|1852]]
|
| [[Wurlitzer Opus 1852|Elphinstone Picture Palace]]
| Calcutta
|
| India
| 190
| [[Wurlitzer Wiring Schedule 872|872]]
|-
| [[Wurlitzer Opus 1899|1899]]
|
| [[Wurlitzer Opus 1899|Vermond Knauss Sch]]
| Allentown
| Pennsylvania
| U.S.A.
| 190 3M
| [[Wurlitzer Wiring Schedule 946|946]]
|-
| [[Wurlitzer Opus 1913|1913]]
|
| [[Wurlitzer Opus 1913|State Theatre]]
| Hanover
| Pennsylvania
| U.S.A.
| 190
| [[Wurlitzer Wiring Schedule 892|892]]
|-
| [[Wurlitzer Opus 1914|1914]]
|
| [[Wurlitzer Opus 1914|Pascack Theatre]]
| Westwood
| New Jersey
| U.S.A.
| 190
| [[Wurlitzer Wiring Schedule 892|892]]
|-
| [[Wurlitzer Opus 1916|1916]]
|
| [[Wurlitzer Opus 1916|Commodore Theatre]]
| Philadelphia
| Pennsylvania
| U.S.A.
| 190 3M
| [[Wurlitzer Wiring Schedule 934|934]]
|-
| [[Wurlitzer Opus 1918|1918]]
|
| [[Wurlitzer Opus 1918|Lyric Theatre]]
| Hartford
| Connecticut
| U.S.A.
| 190 SP
| [[Wurlitzer Wiring Schedule 957|957]]
|-
| [[Wurlitzer Opus 1922|1922]]
|
| [[Wurlitzer Opus 1922|Orpheum Theatre]]
| Cincinnati
| Ohio
| U.S.A.
| 190 3M
| [[Wurlitzer Wiring Schedule 959|959]]
|-
| [[Wurlitzer Opus 1936|1936]]
|
| [[Wurlitzer Opus 1936|United Artist Theatre]]
| Portland
| Oregon
| U.S.A.
| 190 SP
| [[Wurlitzer Wiring Schedule 967|967]]
|-
| [[Wurlitzer Opus 1940|1940]]
|
| [[Wurlitzer Opus 1940|Dominion Theatre]]
| Auburn
| Maine
| U.S.A.
| 190
| [[Wurlitzer Wiring Schedule 892|892]]
|-
| [[Wurlitzer Opus 1990|1990]]
|
| [[Wurlitzer Opus 1990|Colosseum Theatre]]
| Warsaw
|
| Poland
| 190
| [[Wurlitzer Wiring Schedule 892|892]]
|-
| [[Wurlitzer Opus 1993|1993]]
|
| [[Wurlitzer Opus 1993|North Park Theatre]]
| San Diego
| California
| U.S.A.
| 190
| [[Wurlitzer Wiring Schedule 892|892]]
|-
| [[Wurlitzer Opus 2014|2014]]
|
| [[Wurlitzer Opus 2014|Fitchburg Theatre]]
| Fitchburg
| Massachusetts
| U.S.A.
| 190
| [[Wurlitzer Wiring Schedule 892|892]]
|-
| [[Wurlitzer Opus 2041|2041]]
|
| [[Wurlitzer Opus 2041|Madison Theatre]]
| Albany
| New York
| U.S.A.
| 190
| [[Wurlitzer Wiring Schedule 892|892]]
|-
| [[Wurlitzer Opus 2056|2056]]
|
| [[Wurlitzer Opus 2056|Alhambra Theatre]]
| Capetown
|
| South Africa
| 190
| [[Wurlitzer Wiring Schedule 892|892]]
|-
| [[Wurlitzer Opus 2061|2061]]
|
| [[Wurlitzer Opus 2061|Egyptian Theatre]]
| Brighton
| Massachusetts
| U.S.A.
| 190
| [[Wurlitzer Wiring Schedule 892|892]]
|-
| [[Wurlitzer Opus 2067|2067]]
|
| [[Wurlitzer Opus 2067|State Theatre]]
| Portland
| Maine
| U.S.A.
| 190 SP
|
|-
| [[Wurlitzer Opus 2070|2070]]
|
| [[Wurlitzer Opus 2070|Fox Theatre]]
| Appleton
| Wisconsin
| U.S.A.
| 190
| [[Wurlitzer Wiring Schedule 892|892]]
|-
| [[Wurlitzer Opus 2091|2091]]
|
| [[Wurlitzer Opus 2091|Bay Theatre]]
| Greenbay
| Wisconsin
| U.S.A.
| 190
| [[Wurlitzer Wiring Schedule 892|892]]
|-
| [[Wurlitzer Opus 2149|2149]]
|
| [[Wurlitzer Opus 2149|His Majestys Theatre]]
| Pretoria
|
| South Africa
| 190
| [[Wurlitzer Wiring Schedule 892|892]]
|-
| [[Wurlitzer Opus 2150|2150]]
|
| [[Wurlitzer Opus 2150|New Theatre]]
| Durban
|
| South Africa
| 190
| [[Wurlitzer Wiring Schedule 892|892]]
|-
| [[Wurlitzer Opus 2161|2161]]
|
| [[Wurlitzer Opus 2161|Plaza Theatre]]
| Johannesbrg
|
| South Africa
| 190
| [[Wurlitzer Wiring Schedule 892|892]]
|}

Wurlitzer Style 185

2025-07-21T20:35:23Z

GabrielPeressini:

{| class="infobox" style="width: 320px; float: right; border: 1px solid #aaa; background-color: #f9f9f9; font-size: 90%;"
|+ style="font-size: 110%; font-weight: bold; background-color: #ccc; text-align: center;" | Wurlitzer Style 185
|-
! Console Type
| {{{console_type|Curved Console}}}
|-
! Bolsters
| {{{bolsters|1}}}
|-
! Manuals
| {{{manuals|2}}}
|-
! Ranks
| {{{ranks|7}}}
|-
! Tuned Percussions
| {{{percussions|5}}}
|-
! Traps
| {{{traps|14}}}

|-
! colspan="2" style="background-color:#ddd;" | Rank Information
|-
| colspan="2" |
{| class="wikitable" style="width:100%; font-size:90%; text-align: center;"
! Rank Name !! Lowest Pitch !! Notes
|-
| [[Tuba Horn_(Rank)|Tuba Horn]] || 16' || 85 Pipes
|-
| [[Open Diapason_(Rank)|Open Diapason]] || 16' || 85 Pipes
|-
| [[Clarinet_(Rank)|Clarinet]] || 8' || 61 Pipes
|-
| [[Viol d'Orchestre_(Rank)|Viol d'Orchestre]] || 8' || 73 Pipes
|-
| [[Celeste_(Rank)|Viol Celeste]] || 8' || 73 Pipes
|-
| [[Flute_(Rank)|Flute]] || 16' || 97 Pipes
|-
| [[Vox Humana_(Rank)|Vox Humana]] || 8' || 61 Pipes
|-
| [[Cathedral Chimes|Cathedral Chimes]] || || 18 Notes
|-
| [[Sleigh Bells|Sleigh Bells]] || || 25 Notes
|-
| [[Xylophone|Xylophone]] || || 37 Notes
|-
| [[Glockenspiel|Glockenspiel]] || || 30 Notes
|-
| [[Chrysoglott|Chrysoglott]] || || 49 Notes
|}
|-
! colspan="2" | <hr />
|-
! Toe Pistons
| {{{Toe Pistons| Bird Auto Horn Fire Gong Steamboat Whistle Horse Hoofs Machine Gun}}}
|-
! colspan="2" | <hr />
|-
! Push Button
| {{{PushButtons| Door Bell }}}
|-
! colspan="2" | <hr />
|-
! General
| {{{general|One Expression Pedal One Double Touch Sforzando Pedal - Piano Pedal - 1st Touch, Full Stops (wind) - 2nd Touch, Everything One Double Touch Sforzando Pedal - Piano Pedal - 1st Touch, Snare Drum - 2nd Touch, Bass Drum and Cymbal}}}
|}

== Layout – Manuals & Touches ==
{| class="wikitable"
|- style="font-style:italic; font-weight:bold; text-align:center; vertical-align:middle;"
! Pedal
! Accompaniment
! Accompaniment Second Touch
! Solo
! Solo Second Touch
! Tremulants
|- style="text-align:center;"
| style="vertical-align:bottom; background-color:#F9F9F9; color:#202122;" | 1st & 2nd Touch Traps Switch
| rowspan="2" colspan="2" style="background-color:#F9F9F9; color:#202122;" | 10 Adjustable Combination Pistons
| rowspan="2" colspan="2" style="background-color:#F9F9F9; color:#202122;" | 10 Adjustable Combination Pistons
| style="vertical-align:bottom; text-align:left;" |
|- style="text-align:center;"
| style="vertical-align:middle; background-color:#F9F9F9; color:#202122;" | 3 Combination Toe Pistons
| style="vertical-align:bottom; text-align:left;" |
|- style="vertical-align:bottom; background-color:#F00; color:#202122;"
| 16' Ophicleide
| style="background-color:#F9F9F9;" | 16' Contra Viol (TC)
| 8' Tuba Horn
| 16' Ophicleide
| 16' Ophicleide
| style="background-color:#F9F9F9;" | General
|- style="vertical-align:bottom; background-color:#F00; color:#202122;"
| style="background-color:#F9F9F9;" | 16' Bass
| 16' Vox Humana (TC)
| 8' Clarinet
| style="background-color:#F9F9F9;" | 16' Bass
| 8' Clairnet
| style="background-color:#F9F9F9;" | Vox Humana
|- style="vertical-align:bottom;"
| style="background-color:#F9F9F9; color:#202122;" | 16' Bourdon
| style="background-color:#F00; color:#202122;" | 8' Tuba Horn
| style="background-color:#F9F9F9; color:#202122;" | Sleigh Bells
| style="background-color:#F9F9F9; color:#202122;" | 16' Contra Viol (TC)
|
|
|- style="vertical-align:bottom;"
| style="background-color:#F00; color:#202122;" | 8' Tuba Horn
| style="background-color:#F9F9F9; color:#202122;" | 8' Open Diapason
| style="background-color:#F9F9F9; color:#202122;" | Xylophone
| style="background-color:#F00; color:#202122;" | 8' Tuba Horn
|
|
|- style="vertical-align:bottom;"
| style="background-color:#F9F9F9; color:#202122;" | 8' Open Diapason
| style="background-color:#F00; color:#202122;" | 8' Clarinet
| style="background-color:#F9F9F9; color:#202122;" | Triangle
| style="background-color:#F9F9F9; color:#202122;" | 8' Open Diapason
|
|
|- style="vertical-align:bottom;"
| style="background-color:#F00; color:#202122;" | 8' Clarinet
| style="background-color:#F9F9F9; color:#202122;" | 8' Viol d'Orchestre
|
| style="background-color:#F00; color:#202122;" | 8' Clarinet
|
|
|- style="vertical-align:bottom;"
| style="background-color:#FBBC04; color:#202122;" | 8' Cello
| style="background-color:#FBBC04; color:#202122;" | 8' Viol Celeste (TC)
|
| style="background-color:#F9F9F9; color:#202122;" | 8' Viol d'Orchestre
|
|
|- style="vertical-align:bottom;"
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
|
| style="background-color:#FBBC04; color:#202122;" | 8' Viol Celeste (TC)
|
|
|- style="vertical-align:bottom;"
| style="background-color:#F9F9F9; color:#202122;" | 4' Octave
| style="background-color:#F00; color:#202122;" | 8' Vox Humana
|
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
|
|
|- style="vertical-align:bottom;"
| style="background-color:#F9F9F9; color:#202122;" | Bass Drum
| style="background-color:#F9F9F9; color:#202122;" | 4' Viol
|
| style="background-color:#F00; color:#202122;" | 8' Vox Humana
|
|
|- style="vertical-align:bottom;"
| style="background-color:#F9F9F9; color:#202122;" | Kettle Drum
| style="background-color:#FBBC04; color:#202122;" | 4' Octave Celeste
|
| style="background-color:#F00; color:#202122;" | 4' Clarion
|
|
|- style="vertical-align:bottom;"
| style="background-color:#F9F9F9; color:#202122;" | Crash Cymbal
| style="background-color:#F9F9F9; color:#202122;" | 4' Flute
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Octave
|
|
|- style="vertical-align:bottom;"
| style="background-color:#F9F9F9; color:#202122;" | Cymbal
| style="background-color:#F00; color:#202122;" | 4' Vox Humana
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Viol
|
|
|- style="vertical-align:bottom;"
|
| style="background-color:#F9F9F9; color:#202122;" | 2 2⁄3' Twelfth
|
| style="background-color:#FBBC04; color:#202122;" | 4' Octave Celeste
|
|
|- style="vertical-align:bottom;"
|
| style="background-color:#F9F9F9; color:#202122;" | 2' Piccolo
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Flute
|
|
|- style="vertical-align:bottom;"
|
| style="background-color:#F9F9F9; color:#202122;" | Chrysoglott
|
| style="background-color:#F9F9F9; color:#202122;" | 2 2⁄3 Twelfth
|
|
|- style="vertical-align:bottom;"
|
| style="background-color:#F9F9F9; color:#202122;" | Snare Drum
|
| style="background-color:#F9F9F9; color:#202122;" | 2' Fifteenth
|
|
|- style="vertical-align:bottom;"
|
| style="background-color:#F9F9F9; color:#202122;" | Tambourine
|
| style="background-color:#F9F9F9; color:#202122;" | 2' Piccolo
|
|
|- style="vertical-align:bottom;"
|
| style="background-color:#F9F9F9; color:#202122;" | Castanets
|
| style="background-color:#F9F9F9; color:#202122;" | 1 3⁄5 Tierce
|
|
|- style="vertical-align:bottom;"
|
| style="background-color:#F9F9F9; color:#202122;" | Chinese Block
|
| style="background-color:#F9F9F9; color:#202122;" | Cathedral Chimes
|
|
|- style="vertical-align:bottom;"
|
|
|
| style="background-color:#F9F9F9; color:#202122;" | Sleigh Bells
|
|
|- style="vertical-align:bottom;"
|
|
|
| style="background-color:#F9F9F9; color:#202122;" | Xylophone
|
|
|- style="vertical-align:bottom;"
|
|
|
| style="background-color:#F9F9F9; color:#202122;" | Glockenspiel
|
|
|- style="vertical-align:bottom;"
|
|
|
| style="background-color:#F9F9F9; color:#202122;" | Chrysoglott
|
|
|}

== List of Known Installations ==

{| class="wikitable sortable"
! Opus
! Year Installed
! Location
! City
! State
! Country
! Style
! Wiring Schedule
|-
| [[Wurlitzer Opus 197|197]]
|
| [[Wurlitzer Opus 197|Majestic Theatre]]
| Reno
| Nevada
| U.S.A.
| 185
|
|-
| [[Wurlitzer Opus 201|201]]
|
| [[Wurlitzer Opus 201|Babcock Theatre]]
| Billings
| Montana
| U.S.A.
| 185
|
|-
| [[Wurlitzer Opus 210|210]]
|
|
| Toledo
| Ohio
| U.S.A.
| 185
|
|-
| [[Wurlitzer Opus 217|217]]
|
|
| Dayton
| Ohio
| U.S.A.
| 185
|
|-
| [[Wurlitzer Opus 225|225]]
|
|
| Philadelphia
| Pennsylvania
| U.S.A.
| 185
|
|-
| [[Wurlitzer Opus 237|237]]
|
| [[Wurlitzer Opus 237|Orpheum Theatre]]
| Chicago
| Illinois
| U.S.A.
| 185 X
|
|-
| [[Wurlitzer Opus 240|240]]
|
| [[Wurlitzer Opus 240|Liberty Theatre]]
| Wenatchee
| Washington
| U.S.A.
| 185
|
|-
| [[Wurlitzer Opus 241|241]]
|
| [[Wurlitzer Opus 241|Oregon Theatre]]
| Salem
| Oregon
| U.S.A.
| 185 SP
|
|-
| [[Wurlitzer Opus 247|247]]
|
| [[Wurlitzer Opus 247|Pantheon Theatre]]
| Toledo
| Ohio
| U.S.A.
| 185
|
|-
| [[Wurlitzer Opus 254|254]]
|
| [[Wurlitzer Opus 254|Santa Cruz Theatre]]
| Santa Cruz
| California
| U.S.A.
| 185
|
|-
| [[Wurlitzer Opus 258|258]]
|
| [[Wurlitzer Opus 258|Imperial Theatre (Strand)]]
| San Francisco
| California
| U.S.A.
| 185 SP
|
|-
| [[Wurlitzer Opus 284|284]]
|
| [[Wurlitzer Opus 284|Strand Theatre]]
| Pasadena
| California
| U.S.A.
| 185
|
|-
| [[Wurlitzer Opus 299|299]]
|
| [[Wurlitzer Opus 299|Palace Theatre]]
| Long Beach
| California
| U.S.A.
| 185
|
|-
| [[Wurlitzer Opus 306|306]]
|
| [[Wurlitzer Opus 306|Fox Theatre]]
| Turlock
| California
| U.S.A.
| 185
|
|-
| [[Wurlitzer Opus 318|318]]
|
| [[Wurlitzer Opus 318|Cedar Theatre]]
| Cleveland
| Ohio
| U.S.A.
| 185
|
|-
| [[Wurlitzer Opus 321|321]]
|
| [[Wurlitzer Opus 321|Covell Theatre]]
| Modesto
| California
| U.S.A.
| 185 SP
|
|-
| [[Wurlitzer Opus 329|329]]
|
| [[Wurlitzer Opus 329|Lyceum Theatre]]
| San Francisco
| California
| U.S.A.
| 185
|
|-
| [[Wurlitzer Opus 337|337]]
|
| [[Wurlitzer Opus 337|Sigma (Silver) Theatre]]
| Lima
| Ohio
| U.S.A.
| 185
|
|-
| [[Wurlitzer Opus 341|341]]
|
| [[Wurlitzer Opus 341|Weir Theatre]]
| Aberdeen
| Washington
| U.S.A.
| 185
|
|-
| [[Wurlitzer Opus 359|359]]
|
| [[Wurlitzer Opus 359|Deluxe Theatre]]
| Melbourne
| Victoria
| Australia
| 185 C
|
|-
| [[Wurlitzer Opus 378|378]]
|
| [[Wurlitzer Opus 378|Leang]]
| Long Beach
| California
| U.S.A.
| 185
|
|-
| [[Wurlitzer Opus 397|397]]
|
| [[Wurlitzer Opus 397|Clune Theatre]]
| Los Angeles
| California
| U.S.A.
| 185
|
|-
| [[Wurlitzer Opus 403|403]]
|
| [[Wurlitzer Opus 403|Noble Theatre]]
| Coos Bay
| Oregon
| U.S.A.
| 185
|
|-
| [[Wurlitzer Opus 420|420]]
|
| [[Wurlitzer Opus 420|Navarro Theatre]]
| Los Angeles
| California
| U.S.A.
| 185 B
|
|-
| [[Wurlitzer Opus 442|442]]
|
| [[Wurlitzer Opus 442|Rapids Theatre(Bellevue)]]
| Niagara Falls
| New York
| U.S.A.
| 185
|
|-
| [[Wurlitzer Opus 453|453]]
|
| [[Wurlitzer Opus 453|Rialto Theatre]]
| Hood River
| Oregon
| U.S.A.
| 185
|
|-
| [[Wurlitzer Opus 480|480]]
|
| [[Wurlitzer Opus 480|Tietke Theatre]]
| Toledo
| Ohio
| U.S.A.
| 185 C
|
|-
| [[Wurlitzer Opus 490|490]]
|
| [[Wurlitzer Opus 490|Virginia Theatre]]
| Champaign
| Illinois
| U.S.A.
| 185
|
|-
| [[Wurlitzer Opus 500|500]]
|
| [[Wurlitzer Opus 500|Grande Theatre]]
| Vineland
| New Jersey
| U.S.A.
| 185 SP
|
|-
| [[Wurlitzer Opus 553|553]]
|
| [[Wurlitzer Opus 553|Eastman Sch Of Music]]
| Rochester
| New York
| U.S.A.
| 185 X
|
|-
| [[Wurlitzer Opus 557|557]]
|
| [[Wurlitzer Opus 557|Wayne Theatre]]
| Wayne
| Pennsylvania
| U.S.A.
| 185
|
|-
| [[Wurlitzer Opus 710|710]]
|
| [[Wurlitzer Opus 710|Dewitt Theatre]]
| Bayonne
| New Jersey
| U.S.A.
| 185
|
|-
| [[Wurlitzer Opus 748|748]]
|
| [[Wurlitzer Opus 748|Wintergarden Theatre]]
| Brisbane
| Queensland
| Australia
| 185 SP
| [[Wurlitzer Wiring Schedule 549|549]]
|}

Wurlitzer Style 175

2025-07-21T20:33:57Z

GabrielPeressini:

{| class="infobox" style="width: 320px; float: right; border: 1px solid #aaa; background-color: #f9f9f9; font-size: 90%;"
|+ style="font-size: 110%; font-weight: bold; background-color: #ccc; text-align: center;" | Wurlitzer Style 175
|-
! Console Type
| {{{console_type|Curved Console}}}
|-
! Bolsters
| {{{bolsters|1}}}
|-
! Manuals
| {{{manuals|2}}}
|-
! Ranks
| {{{ranks|7}}}
|-
! Tuned Percussions
| {{{percussions|4}}}
|-
! Traps
| {{{traps|18}}}

|-
! colspan="2" style="background-color:#ddd;" | Rank Information
|-
| colspan="2" |
{| class="wikitable" style="width:100%; font-size:90%; text-align: center;"
! Rank Name !! Lowest Pitch !! Notes
|-
| [[Trumpet_(Rank)|Trumpet]] || 8' || 61 Pipes
|-
| [[Open Diapason_(Rank)|Open Diapason]] || 16' || 85 Pipes
|-
| [[Tibia Clausa_(Rank)|Tibia Clausa]] || 8' || 85 Pipes
|-
| [[Violin_(Rank)|Violin]] || 8' || 73 Pipes
|-
| [[Celeste_(Rank)|Violin Celeste (TC)]] || 8' || 61 Pipes
|-
| [[Flute_(Rank)|Flute]] || 16' || 97 Pipes
|-
| [[Vox Humana_(Rank)|Vox Humana]] || 8' || 61 Pipes
|-
| [[Cathedral Chimes|Cathedral Chimes]] || || 18 Notes
|-
| [[Xylophone|Xylophone]] || || 30 Notes
|-
| [[Glockenspiel|Glockenspiel]] || || 30 Notes
|-
| [[Chrysoglott|Chrysoglott]] || || 49 Notes
|}
|-
! colspan="2" | <hr />
|-
! Toe Pistons
| {{{Toe Pistons| Horse Hoofs Surf Bird Siren Auto Horn Fire Gong Fire Gong (re-it) Steamboat Whistle Machine Gun}}}
|-
! colspan="2" | <hr />
|-
! Push Button
| {{{PushButtons| Door Bell }}}
|}

== Layout – Manuals & Touches ==

{| class="wikitable" style="vertical-align:bottom;"
|- style="font-style:italic; font-weight:bold; text-align:center; vertical-align:middle;"
! Pedal
! Accompaniment
! Accompaniment Second Touch
! Solo
! Solo Second Touch
! Tremulants
|- style="text-align:center; vertical-align:middle; background-color:#F9F9F9; color:#202122;"
| 1st & 2nd Touch Traps Switch
| colspan="2" | 5 Adjustable Combination Pistons (Accomp & Pedal)
| colspan="2" | 5 Adjustable Combination Pistons (Solo & Pedal)
| style="vertical-align:bottom; text-align:left;" | Main
|- style="background-color:#F9F9F9; color:#202122;"
| 16' Diaphone
| 16' Bourdon
| style="background-color:#F00;" | 8' Trumpet
| 16' Diaphone
| style="background-color:#F00;" | 16' Trumpet (TC)
| Tibia Clausa
|- style="background-color:#F9F9F9; color:#202122;"
| 16' Bourdon
| 16' Contra Viol (TC)
| 8' Tibia Clausa
| 16' Tibia Clausa (TC)
| 8' Tibia Clausa
| Vox Humana
|-
| style="background-color:#F00; color:#202122;" | 8' Trumpet
| style="background-color:#F00; color:#202122;" | 16' Vox Humana (TC)
| style="background-color:#F9F9F9; color:#202122;" | Cathedral Chimes
| style="background-color:#F9F9F9; color:#202122;" | 16' Bourdon
|
|
|-
| style="background-color:#F9F9F9; color:#202122;" | 8' Open Diapason
| style="background-color:#F00; color:#202122;" | 8' Trumpet
| style="background-color:#F9F9F9; color:#202122;" | Triangle
| style="background-color:#F00; color:#202122;" | 16' Vox Humana (TC)
|
|
|-
| style="background-color:#F9F9F9; color:#202122;" | 8' Tibia Clausa
| style="background-color:#F9F9F9; color:#202122;" | 8' Open Diapason
|
| style="background-color:#F00; color:#202122;" | 8' Trumpet
|
|
|-
| style="background-color:#FBBC04; color:#202122;" | 8' Cello
| style="background-color:#F9F9F9; color:#202122;" | 8' Tibia Clausa
|
| style="background-color:#F9F9F9; color:#202122;" | 8' Open Diapason
|
|
|-
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
| style="background-color:#F9F9F9; color:#202122;" | 8' Violin
|
| style="background-color:#F9F9F9; color:#202122;" | 8' Tibia Clausa
|
|
|-
| style="background-color:#F9F9F9; color:#202122;" | Bass Drum
| style="background-color:#FBBC04; color:#202122;" | 8' Violin Celeste (TC)
|
| style="background-color:#F9F9F9; color:#202122;" | 8' Violin
|
|
|-
| style="background-color:#F9F9F9; color:#202122;" | Kettle Drum
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
|
| style="background-color:#FBBC04; color:#202122;" | 8' Violin Celeste (TC)
|
|
|-
| style="background-color:#F9F9F9; color:#202122;" | Cymbal
| style="background-color:#F00; color:#202122;" | 8' Vox Humana
|
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
|
|
|-
| style="background-color:#F9F9F9; color:#202122;" | Crash Cymbal
| style="background-color:#F9F9F9; color:#202122;" | 4' Octave
|
| style="background-color:#F00; color:#202122;" | 8' Vox Humana
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Piccolo
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Octave
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Viol
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Piccolo
|
|
|-
|
| style="background-color:#FBBC04; color:#202122;" | 4' Octave Celeste
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Viol
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Flute
|
| style="background-color:#FBBC04; color:#202122;" | 4' Octave Celeste
|
|
|-
|
| style="background-color:#F00; color:#202122;" | 4' Vox Humana
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Flute
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | 2' Piccolo
|
| style="background-color:#F9F9F9; color:#202122;" | 2 2⁄3' Twelfth (Tibia)
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Chrysoglott
|
| style="background-color:#F9F9F9; color:#202122;" | 2 2⁄3' Twelfth
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Snare Drum
|
| style="background-color:#F9F9F9; color:#202122;" | 2' Piccolo (Tibia)
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Tambourine
|
| style="background-color:#F9F9F9; color:#202122;" | 2' Piccolo
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Castanets
|
| style="background-color:#F9F9F9; color:#202122;" | 1 3⁄5' Tierce
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Chinese Block
|
| style="background-color:#F9F9F9; color:#202122;" | Cathedral Chimes
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Tom Tom
|
| style="background-color:#F9F9F9; color:#202122;" | Xylophone
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Sleigh Bells
|
| style="background-color:#F9F9F9; color:#202122;" | Glockenspiel
|
|
|-
|
|
|
| style="background-color:#F9F9F9; color:#202122;" | Chrysoglott
|
|
|}

== List of Known Installations ==

{| class="wikitable sortable"
! Opus
! Year Installed
! Location
! City
! State
! Country
! Style
! Wiring Schedule
|-
| [[Wurlitzer Opus 1921|1921]]
|
| [[Wurlitzer Opus 1921|Knickerbocker Theatre]]
| Detroit
| Michigan
| U.S.A.
| 175 X
| [[Wurlitzer Wiring Schedule 961|961]]
|-
| [[Wurlitzer Opus 1977|1977]]
|
| [[Wurlitzer Opus 1977|Riviera Theatre]]
| Syracuse
| New York
| U.S.A.
| 175 X
| [[Wurlitzer Wiring Schedule 891|891]]
|-
| [[Wurlitzer Opus 2007|2007]]
|
| [[Wurlitzer Opus 2007|Seville Theatre]]
| Boston
| Massachusetts
| U.S.A.
| 175
| [[Wurlitzer Wiring Schedule 891|891]]
|-
| [[Wurlitzer Opus 2047|2047]]
|
| [[Wurlitzer Opus 2047|Station Kger]]
| Long Beach
| California
| U.S.A.
| 175 3M
| [[Wurlitzer Wiring Schedule 1022|1022]]
|-
| [[Wurlitzer Opus 2079|2079]]
|
| [[Wurlitzer Opus 2079|New Theatre]]
| Hamburg
|
| Germany
| 175 X
| [[Wurlitzer Wiring Schedule 891|891]]
|-
| [[Wurlitzer Opus 2220|2220]]
|
| [[Wurlitzer Opus 2220|Palladium Theatre]]
| Copenhagen
|
| Denmark
| 175 3C
| [[Wurlitzer Wiring Schedule 1175|1175]]
|}

Wurlitzer Style 170

2025-07-21T20:32:22Z

GabrielPeressini:

{| class="infobox" style="width: 320px; float: right; border: 1px solid #aaa; background-color: #f9f9f9; font-size: 90%;"
|+ style="font-size: 110%; font-weight: bold; background-color: #ccc; text-align: center;" | Wurlitzer Style 170
|-
! Console Type
| {{{console_type|Curved Console}}}
|-
! Bolsters
| {{{bolsters|1}}}
|-
! Manuals
| {{{manuals|2}}}
|-
! Ranks
| {{{ranks|5}}}
|-
! Tuned Percussions
| {{{percussions|3}}}
|-
! Traps
| {{{traps|17}}}

|-
! colspan="2" style="background-color:#ddd;" | Rank Information
|-
| colspan="2" |
{| class="wikitable" style="width:100%; font-size:90%; text-align: center;"
! Rank Name !! Lowest Pitch !! Notes
|-
| [[Trumpet_(Rank)|Trumpet]] || 8' || 61 Pipes
|-
| [[Open Diapason_(Rank)|Open Diapason]] || 16' || 85 Pipes
|-
| [[Flute_(Rank)|Flute]] || 16' || 97 Pipes
|-
| [[Vox Humana_(Rank)|Vox Humana]] || 8' || 61 Pipes
|-
| [[Dulciana_(Rank)|Dulciana]] || 8' || 73 Pipes
|-
| [[Cathedral Chimes|Cathedral Chimes]] || || 18 Notes
|-
| [[Xylophone|Xylophone]] || || 30 Notes
|-
| [[Glockenspiel|Glockenspiel]] || || 30 Notes
|}
|-
! colspan="2" | <hr />
|-
! Toe Pistons
| {{{Toe Pistons| Horse Hoofs Surf Bird Train Auto Horn Fire Gong Fire Gong (re-it) Steamboat Whistle Siren Tom Tom}}}
|-
! colspan="2" | <hr />
|-
! Push Button
| {{{PushButtons| Door Bell }}}
|}

== Layout – Manuals & Touches ==
{| class="wikitable" style="vertical-align:bottom;"
|- style="font-style:italic; font-weight:bold; text-align:center; vertical-align:middle;"
! Pedal
! Pedal Second Touch
! Accompaniment
! Accompaniment Second Touch
! Solo
! Solo Second Touch
! Tremulants
|- style="text-align:center; vertical-align:middle;"
| colspan="2" style="background-color:#F9F9F9; color:#202122;" | 3 Combination Toe Pistons
| colspan="2" style="background-color:#F9F9F9; color:#202122;" | 3 Adjustable Combination Pistons (Accomp & Pedal)
| colspan="2" style="background-color:#F9F9F9; color:#202122;" | 3 Adjustable Combination Pistons (Solo & Pedal)
| style="vertical-align:bottom; text-align:left;" |
|- style="background-color:#F9F9F9; color:#202122;"
| 16' Bass
| Bass Drum
| style="background-color:#F00;" | 8' Trumpet
| style="background-color:#F00;" | 8' Trumpet
| 16' Bourdon
| style="background-color:#F00;" | 8' Trumpet
| General
|-
| style="background-color:#F9F9F9; color:#202122;" | 16' Bourdon
| style="background-color:#F9F9F9; color:#202122;" | Kettle Drum
| style="background-color:#F9F9F9; color:#202122;" | 8' Open Diapason
| style="background-color:#F9F9F9; color:#202122;" | 8' Open Diapason
| style="background-color:#F00; color:#202122;" | 8' Trumpet
|
| style="background-color:#F9F9F9; color:#202122;" | Vox Humana
|-
| style="background-color:#F9F9F9; color:#202122;" | 8' Open Diapason
| style="background-color:#F9F9F9; color:#202122;" | Cymbal
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
|
| style="background-color:#F9F9F9; color:#202122;" | 8' Open Diapason
|
|
|-
| style="background-color:#F9F9F9; color:#202122;" | 8' Dulciana
| style="background-color:#F9F9F9;" |
| style="background-color:#F00; color:#202122;" | 8' Vox Humana
|
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
|
|
|-
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
| style="background-color:#F9F9F9;" |
| style="background-color:#F9F9F9; color:#202122;" | 8' Dulciana
|
| style="background-color:#F00; color:#202122;" | 8' Vox Humana
|
|
|-
|
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Octave
|
| style="background-color:#F9F9F9; color:#202122;" | 8' Dulciana
|
|
|-
|
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Flute
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Octave
|
|
|-
|
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Dulcet
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Piccolo
|
|
|-
|
|
| style="background-color:#F9F9F9; color:#202122;" | Snare Drum
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Salicet
|
|
|-
|
|
| style="background-color:#F9F9F9; color:#202122;" | Tambourine
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Flute
|
|
|-
|
|
| style="background-color:#F9F9F9; color:#202122;" | Castanets
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Dulect
|
|
|-
|
|
| style="background-color:#F9F9F9; color:#202122;" | Chinese Block
|
| style="background-color:#F9F9F9; color:#202122;" | 2' Piccolo
|
|
|-
|
|
|
|
| style="background-color:#F9F9F9; color:#202122;" | Cathedral Chimes
|
|
|-
|
|
|
|
| style="background-color:#F9F9F9; color:#202122;" | Xylophone
|
|
|-
|
|
|
|
| style="background-color:#F9F9F9; color:#202122;" | Glockenspiel
|
|
|}

== List of Known Installations ==

{| class="wikitable sortable"
! Opus
! Year Installed
! Location
! City
! State
! Country
! Style
! Wiring Schedule
|-
| [[Wurlitzer Opus 387|387]]
|
| [[Wurlitzer Opus 387|A H Hilton Theatre]]
| Lewiston
| Idaho
| U.S.A.
| 170
|
|-
| [[Wurlitzer Opus 393|393]]
|
| [[Wurlitzer Opus 393|Barlow'S Theatre]]
| Oakdale
| California
| U.S.A.
| 170
|
|-
| [[Wurlitzer Opus 413|413]]
|
| [[Wurlitzer Opus 413|Store]]
| San Francisco
| California
| U.S.A.
| 170
|
|-
| [[Wurlitzer Opus 424|424]]
|
| [[Wurlitzer Opus 424|Fairfax Theatre(G Willis)]]
| Los Angeles
| California
| U.S.A.
| 170
|
|-
| [[Wurlitzer Opus 427|427]]
|
| [[Wurlitzer Opus 427|Apollo Theatre]]
| Tacoma
| Washington
| U.S.A.
| 170
|
|-
| [[Wurlitzer Opus 435|435]]
|
| [[Wurlitzer Opus 435|Rivoli Theatre (G & M)]]
| Pendleton
| Oregon
| U.S.A.
| 170
|
|-
| [[Wurlitzer Opus 438|438]]
|
| [[Wurlitzer Opus 438|Merced Theatre]]
| Merced
| California
| U.S.A.
| 170
|
|-
| [[Wurlitzer Opus 451|451]]
|
| [[Wurlitzer Opus 451|Store]]
| San Francisco
| California
| U.S.A.
| 170
|
|-
| [[Wurlitzer Opus 461|461]]
|
| [[Wurlitzer Opus 461|Rialto Theatre]]
| Reno
| Nevada
| U.S.A.
| 170 SP
|
|-
| [[Wurlitzer Opus 499|499]]
|
| [[Wurlitzer Opus 499|Strand Theatre]]
| Malden
| Massachusetts
| U.S.A.
| 170
|
|-
| [[Wurlitzer Opus 504|504]]
|
| [[Wurlitzer Opus 504|Poplar Theatre]]
| Philadelphia
| Pennsylvania
| U.S.A.
| 170 SP
|
|-
| [[Wurlitzer Opus 549|549]]
|
| [[Wurlitzer Opus 549|Strand Theatre]]
| White Plains
| New York
| U.S.A.
| 170 X
|
|-
| [[Wurlitzer Opus 580|580]]
|
| [[Wurlitzer Opus 580|Bellevue Theatre]]
| Philadelphia
| Pennsylvania
| U.S.A.
| 170
|
|-
| [[Wurlitzer Opus 606|606]]
|
| [[Wurlitzer Opus 606|Ritz Theatre]]
| Bronx
| New York
| U.S.A.
| 170 SP
|
|-
| [[Wurlitzer Opus 684|684]]
|
| [[Wurlitzer Opus 684|Pantheon Theatre]]
| Bronx
| New York
| U.S.A.
| 170 SP
|
|}

Wurlitzer Style 165

2025-07-21T20:31:02Z

GabrielPeressini:

{| class="infobox" style="width: 320px; float: right; border: 1px solid #aaa; background-color: #f9f9f9; font-size: 90%;"
|+ style="font-size: 110%; font-weight: bold; background-color: #ccc; text-align: center;" | Wurlitzer Style 165
|-
! Console Type
| {{{console_type|Curved Console}}}
|-
! Bolsters
| {{{bolsters|1}}}
|-
! Manuals
| {{{manuals|2}}}
|-
! Ranks
| {{{ranks|6}}}
|-
! Tuned Percussions
| {{{percussions|4}}}
|-
! Traps
| {{{traps|20}}}

|-
! colspan="2" style="background-color:#ddd;" | Rank Information
|-
| colspan="2" |
{| class="wikitable" style="width:100%; font-size:90%; text-align: center;"
! Rank Name !! Lowest Pitch !! Notes
|-
| [[Trumpet_(Rank)|Trumpet]] || 8' || 61 Pipes
|-
| [[Open Diapason_(Rank)|Open Diapason]] || 16' || 85 Pipes
|-
| [[Tibia Clausa_(Rank)|Tibia Clausa]] || 8' || 85 Pipes
|-
| [[Salicional_(Rank)|Salicional]] || 8' || 73 Pipes
|-
| [[Celeste_(Rank)|Salicional Celeste (TC)]] || 8' || 61 Pipes
|-
| [[Flute_(Rank)|Flute]] || 16' || 97 Pipes
|-
| [[Vox Humana_(Rank)|Vox Humana]] || 8' || 61 Pipes
|-
| [[Cathedral Chimes|Cathedral Chimes]] || || 18 Notes
|-
| [[Xylophone|Xylophone]] || || 37 Notes
|-
| [[Glockenspiel|Glockenspiel]] || || 30 Notes
|-
| [[Chrysoglott|Chrysoglott]] || || 49 Notes
|}
|-
! colspan="2" | <hr />
|-
! Toe Pistons
| {{{Toe Pistons| Horse Hoofs Surf Bird Auto Horn Fire Gong Fire Gong (re-it) Steamboat Whistle Siren Machine Gun}}}
|-
! colspan="2" | <hr />
|-
! Push Button
| {{{PushButtons| Door Bell }}}
|}

== Layout – Manuals & Touches ==
{| class="wikitable" style="vertical-align:bottom;"
|- style="font-style:italic; font-weight:bold; text-align:center;"
! Pedal
! Accompaniment
! Accompaniment Second Touch
! Solo
! Solo Second Touch
! Tremulants
|- style="text-align:center; vertical-align:middle;"
| style="vertical-align:bottom; background-color:#F9F9F9; color:#202122;" | 1st & 2nd Touch Traps Switch
| colspan="2" style="background-color:#F9F9F9; color:#202122;" | 5 Adjustable Combination Pistons (Accomp & Pedal)
| colspan="2" style="background-color:#F9F9F9; color:#202122;" | 5 Adjustable Combination Pistons (Solo & Pedal)
| style="vertical-align:bottom; text-align:left;" |
|- style="background-color:#F9F9F9; color:#202122;"
| 16' Diaphone
| 16' Bourdon
| style="background-color:#F00;" | 8' Trumpet
| 16' Diaphone (TC)
| style="background-color:#F00;" | 16' Trumpet (TC)
| Main
|- style="background-color:#F9F9F9; color:#202122;"
| 16' Bourdon
| 16' Contra Viol (TC)
| 8' Tibia Clausa
| 16' Tibia Clausa (TC)
| 8' Tibia Clausa
| Tibia Clausa
|-
| style="background-color:#F00; color:#202122;" | 8' Trumpet
| style="background-color:#F00; color:#202122;" | 16' Vox Humana (TC)
| style="background-color:#F9F9F9; color:#202122;" | Cathedral Chimes
| style="background-color:#F9F9F9; color:#202122;" | 16' Bourdon
|
| style="background-color:#F9F9F9; color:#202122;" | Vox Humana
|-
| style="background-color:#F9F9F9; color:#202122;" | 8' Open Diapason
| style="background-color:#F00; color:#202122;" | 8' Trumpet
| style="background-color:#F9F9F9; color:#202122;" | Triangle
| style="background-color:#F00; color:#202122;" | 16' Vox Humana (TC)
|
|
|-
| style="background-color:#F9F9F9; color:#202122;" | 8' Tibia Clausa
| style="background-color:#F9F9F9; color:#202122;" | 8' Open Diapason
|
| style="background-color:#F00; color:#202122;" | 8' Trumpet
|
|
|-
| style="background-color:#FFF; color:#202122;" | 8' Cello
| style="background-color:#F9F9F9; color:#202122;" | 8' Salicional
|
| style="background-color:#F9F9F9; color:#202122;" | 8' Open Diapason
|
|
|-
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
|
| style="background-color:#F9F9F9; color:#202122;" | 8' Tibia Clausa
|
|
|-
| style="background-color:#F9F9F9; color:#202122;" | Bass Drum
| style="background-color:#F00; color:#202122;" | 8' Vox Humana
|
| style="background-color:#F9F9F9; color:#202122;" | 8' Salicional
|
|
|-
| style="background-color:#F9F9F9; color:#202122;" | Kettle Drum
| style="background-color:#F9F9F9; color:#202122;" | 4' Octave
|
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
|
|
|-
| style="background-color:#F9F9F9; color:#202122;" | Cymbal
| style="background-color:#F9F9F9; color:#202122;" | 4' Piccolo
|
| style="background-color:#F00; color:#202122;" | 8' Vox Humana
|
|
|-
| style="background-color:#F9F9F9; color:#202122;" | Crash Cymbal
| style="background-color:#F9F9F9; color:#202122;" | 4' Salicet
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Octave
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Flute
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Piccolo
|
|
|-
|
| style="background-color:#F00; color:#202122;" | 4' Vox Humana
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Salicet
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | 2' Piccolo
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Flute
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Chrysoglott
|
| style="background-color:#F9F9F9; color:#202122;" | 2 2⁄3' Twelfth (Tibia)
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Snare Drum
|
| style="background-color:#F9F9F9; color:#202122;" | 2 2⁄3' Twelfth
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Tambourine
|
| style="background-color:#F9F9F9; color:#202122;" | 2' Piccolo (Tibia)
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Castanets
|
| style="background-color:#F9F9F9; color:#202122;" | 2' Piccolo
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Chinese Block
|
| style="background-color:#F9F9F9; color:#202122;" | 1 3⁄5' Tierce
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Tom Tom
|
| style="background-color:#F9F9F9; color:#202122;" | Cathedral Chimes
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Sleigh Bells
|
| style="background-color:#F9F9F9; color:#202122;" | Xylophone
|
|
|-
|
|
|
| style="background-color:#F9F9F9; color:#202122;" | Glockenspiel
|
|
|-
|
|
|
| style="background-color:#F9F9F9; color:#202122;" | Chrysoglott
|
|
|}

== List of Known Installations ==

{| class="wikitable sortable"
! Opus
! Year Installed
! Location
! City
! State
! Country
! Style
! Wiring Schedule
|-
| [[Wurlitzer Opus 1875|1875]]
|
| [[Wurlitzer Opus 1875|Kristall Palast Theatre]]
| Berlin
|
| Germany
| 165SP
| [[Wurlitzer Wiring Schedule 940|940]]
|-
| [[Wurlitzer Opus 1878|1878]]
|
| [[Wurlitzer Opus 1878|Del Paso Theatre]]
| Sacramento
| California
| U.S.A.
| 165X
| [[Wurlitzer Wiring Schedule 929|929]]
|-
| [[Wurlitzer Opus 1900|1900]]
|
| [[Wurlitzer Opus 1900|Amazon Theatre]]
| San Francisco
| California
| U.S.A.
| 165
| [[Wurlitzer Wiring Schedule 890|890]]
|-
| [[Wurlitzer Opus 1915|1915]]
|
| [[Wurlitzer Opus 1915|Regent(Gaumont) Theatre]]
| Dudley
| England
| U.K.
| 165X
| [[Wurlitzer Wiring Schedule 954|954]]
|-
| [[Wurlitzer Opus 1920|1920]]
|
| [[Wurlitzer Opus 1920|Union Theatre]]
| Munchen Gdb
|
| Germany
| 165
| [[Wurlitzer Wiring Schedule 890|890]]
|-
| [[Wurlitzer Opus 1937|1937]]
|
| [[Wurlitzer Opus 1937|Kings Theatre (Gaumont)]]
| Dundee
| Scotland
| U.K.
| 165 X
| [[Wurlitzer Wiring Schedule 962|962]]
|-
| [[Wurlitzer Opus 1939|1939]]
|
| [[Wurlitzer Opus 1939|Alhambra Theatre]]
| Berlin
|
| Germany
| 165SP
|
|-
| [[Wurlitzer Opus 1941|1941]]
|
| [[Wurlitzer Opus 1941|Rink Theatre (Gaumont)]]
| Sydenham Ln
| England
| U.K.
| 165 X
| [[Wurlitzer Wiring Schedule 890|890]]
|-
| [[Wurlitzer Opus 1943|1943]]
|
| [[Wurlitzer Opus 1943|El Campanile Theatre]]
| Antioch
| California
| U.S.A.
| 165
| [[Wurlitzer Wiring Schedule 890|890]]
|-
| [[Wurlitzer Opus 1944|1944]]
|
| [[Wurlitzer Opus 1944|Europa Theatre]]
| Dusseldorf
|
| Germany
| 165SP
|
|-
| [[Wurlitzer Opus 1966|1966]]
|
| [[Wurlitzer Opus 1966|Gaiety Theatre]]
| Utica
| New York
| U.S.A.
| 165 X
| [[Wurlitzer Wiring Schedule 890|890]]
|-
| [[Wurlitzer Opus 1971|1971]]
|
| [[Wurlitzer Opus 1971|El Camino Theatre]]
| San Rafael
| California
| U.S.A.
| 165SP
| [[Wurlitzer Wiring Schedule 656|656]]
|-
| [[Wurlitzer Opus 1982|1982]]
|
| [[Wurlitzer Opus 1982|Muir Theatre]]
| Mill Valley
| California
| U.S.A.
| 165SP
|
|-
| [[Wurlitzer Opus 1991|1991]]
|
| [[Wurlitzer Opus 1991|Roxian Theatre]]
| Mc Kees Rcks
| Pennsylvania
| U.S.A.
| 165 X
| [[Wurlitzer Wiring Schedule 890|890]]
|-
| [[Wurlitzer Opus 2015|2015]]
|
| [[Wurlitzer Opus 2015|Kamera Theatre]]
| Berlin
|
| Germany
| 165 X
| [[Wurlitzer Wiring Schedule 1000|1000]]
|-
| [[Wurlitzer Opus 2025|2025]]
|
| [[Wurlitzer Opus 2025|Jean Goldkette]]
| Chicago
| Illinois
| U.S.A.
| 165SP
| [[Wurlitzer Wiring Schedule 1006|1006]]
|-
| [[Wurlitzer Opus 2026|2026]]
|
| [[Wurlitzer Opus 2026|Coleman Theatre]]
| Miami
| Oklahoma
| U.S.A.
| 1653M
| [[Wurlitzer Wiring Schedule 1005|1005]]
|-
| [[Wurlitzer Opus 2068|2068]]
|
| [[Wurlitzer Opus 2068|Regent Theatre]]
| Ipswich
| England
| U.K.
| 165SP
| [[Wurlitzer Wiring Schedule 1035|1035]]
|-
| [[Wurlitzer Opus 2090|2090]]
|
| [[Wurlitzer Opus 2090|Freeport Theatre]]
| Freeport
| Illinois
| U.S.A.
| 165SP
|
|}

Wurlitzer Style 160

2025-07-21T20:29:35Z

GabrielPeressini:

{| class="infobox" style="width: 320px; float: right; border: 1px solid #aaa; background-color: #f9f9f9; font-size: 90%;"
|+ style="font-size: 110%; font-weight: bold; background-color: #ccc; text-align: center;" | Wurlitzer Style 160
|-
! Console Type
| {{{console_type|Piano Console}}}
|-
! Bolsters
| {{{bolsters|1}}}
|-
! Manuals
| {{{manuals|2}}}
|-
! Ranks
| {{{ranks|6}}}
|-
! Tuned Percussions
| {{{percussions|4}}}
|-
! Traps
| {{{traps|17}}}

|-
! colspan="2" style="background-color:#ddd;" | Rank Information
|-
| colspan="2" |
{| class="wikitable" style="width:100%; font-size:90%; text-align: center;"
! Rank Name !! Lowest Pitch !! Notes
|-
| [[Trumpet_(Rank)|Trumpet]] || 8' || 61 Pipes
|-
| [[Open Diapason_(Rank)|Open Diapason]] || 16' || 73 Pipes
|-
| [[Salicional_(Rank)|Salicional]] || 8' || 73 Pipes
|-
| [[Celeste_(Rank)|Salicional Celeste (TC)]] || 8' || 61 Pipes
|-
| [[Flute_(Rank)|Flute]] || 16' || 85 Pipes
|-
| [[Vox Humana_(Rank)|Vox Humana]] || 8' || 61 Pipes
|-
| [[Cathedral Chimes|Cathedral Chimes]] || || 18 Notes
|-
| [[Xylophone|Xylophone]] || || 30 Notes
|-
| [[Glockenspiel|Glockenspiel]] || || 30 Notes
|-
| [[Piano|Piano (with Mandolin Attachment)]] || || 88 Notes
|}
|-
! colspan="2" | <hr />
|-
! Toe Pistons
| {{{Toe Pistons| Sleigh Bells Horse Hoofs Surf Bird Auto Horn Fire Gong Fire Gong (re-it) Steamboat Whistle Siren Tom Tom Train Triangle }}}
|-
! colspan="2" | <hr />
|-
! Push Button
| {{{PushButtons| Door Bell }}}
|}

== Layout – Manuals & Touches ==
{| class="wikitable"
|- style="font-style:italic; font-weight:bold; text-align:center; vertical-align:bottom;"
! Pedal
! Accompaniment
! Solo
! Tremulants
|- style="text-align:center;"
| style="vertical-align:middle; background-color:#F9F9F9; text-align:left;" |
| style="background-color:#F9F9F9; color:#202122;" | 5 Adjustable Combination Pistons (Accomp & Pedal)
| style="background-color:#F9F9F9; color:#202122;" | 5 Adjustable Combination Pistons (Solo & Pedal)
| style="vertical-align:bottom; text-align:left;" |
|- style="vertical-align:bottom; background-color:#F9F9F9; color:#202122;"
| 16' Bass
| style="background-color:#F00;" | 8' Trumpet
| 16' Bourdon
| General
|- style="vertical-align:bottom; background-color:#F9F9F9; color:#202122;"
| 16' Bourdon
| 8' Open Diapason
| style="background-color:#F00;" | 8' Trumpet
| Vox Humana
|- style="vertical-align:bottom;"
| style="background-color:#F9F9F9; color:#202122;" | 8' Open Diapason
| style="background-color:#F9F9F9; color:#202122;" | 8' Salicional
| style="background-color:#F9F9F9; color:#202122;" | 8' Open Diapason
|
|- style="vertical-align:bottom;"
| style="background-color:#FBBC04;" | 8' Cello
| style="background-color:#FBBC04; color:#202122;" | 8' Viol Celeste (TC)
| style="background-color:#F9F9F9; color:#202122;" | 8' Salicional
|
|- style="vertical-align:bottom;"
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
| style="background-color:#FBBC04; color:#202122;" | 8' Viol Celeste (TC)
|
|- style="vertical-align:bottom;"
| style="background-color:#F9F9F9; color:#202122;" | Bass Drum
| style="background-color:#F9F9F9; color:#202122;" | 4' Salicet
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
|
|- style="vertical-align:bottom;"
| style="background-color:#F9F9F9; color:#202122;" | Kettle Drum
| style="background-color:#FBBC04; color:#202122;" | 4' Octave Celeste
| style="background-color:#F00; color:#202122;" | 8' Vox Humana
|
|- style="vertical-align:bottom;"
| style="background-color:#F9F9F9; color:#202122;" | Cymbal
| style="background-color:#F9F9F9; color:#202122;" | 4' Flute
| style="background-color:#F9F9F9; color:#202122;" | 4' Salicet
|
|- style="vertical-align:bottom;"
|
| style="background-color:#F9F9F9; color:#202122;" | Piano
| style="background-color:#F9F9F9; color:#202122;" | 4' Octave Celeste
|
|- style="vertical-align:bottom;"
|
| style="background-color:#F9F9F9; color:#202122;" | Mandolin
| style="background-color:#F9F9F9; color:#202122;" | 4' Flute
|
|- style="vertical-align:bottom;"
|
| style="background-color:#F9F9F9; color:#202122;" | Snare Drum
| style="background-color:#F9F9F9; color:#202122;" | Cathedral Chimes
|
|- style="vertical-align:bottom;"
|
| style="background-color:#F9F9F9; color:#202122;" | Tambourine
| style="background-color:#F9F9F9; color:#202122;" | Xylophone
|
|- style="vertical-align:bottom;"
|
| style="background-color:#F9F9F9; color:#202122;" | Castanets
| style="background-color:#F9F9F9; color:#202122;" | Glockenspiel
|
|- style="vertical-align:bottom;"
|
| style="background-color:#F9F9F9; color:#202122;" | Chinese Block
|
|
|}

== List of Known Installations ==

{| class="wikitable sortable"
! Opus
! Year Installed
! Location
! City
! State
! Country
! Style
! Wiring Schedule
|-
| [[Wurlitzer Opus 184|184]]
|
|
| Johnstown
| Pennsylvania
| U.S.A.
| 160CC
|
|-
| [[Wurlitzer Opus 204|204]]
|
| [[Wurlitzer Opus 204|Bijou Theatre]]
| Mt Clemens
| Michigan
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 218|218]]
|
|
| Orange
| Texas
| U.S.A.
| 160 X
|
|-
| [[Wurlitzer Opus 226|226]]
|
|
| New York
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 234|234]]
|
| [[Wurlitzer Opus 234|Family Theatre]]
| Cincinnati
| Ohio
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 239|239]]
|
| [[Wurlitzer Opus 239|Winter Theatre]]
| Akron
| Ohio
| U.S.A.
| 160C
|
|-
| [[Wurlitzer Opus 243|243]]
|
| [[Wurlitzer Opus 243|Smith Theatre]]
| Akron
| Ohio
| U.S.A.
| 160C
|
|-
| [[Wurlitzer Opus 255|255]]
|
| [[Wurlitzer Opus 255|Universal Theatre]]
| Salt Lk City
| Utah
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 265|265]]
|
|
| Corvallis
| Oregon
| U.S.A.
| 160SP
|
|-
| [[Wurlitzer Opus 269|269]]
|
|
| Buffalo
| New York
| U.S.A.
| 160C
|
|-
| [[Wurlitzer Opus 293|293]]
|
| [[Wurlitzer Opus 293|Criterion Theatre]]
| New York
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 298|298]]
|
| [[Wurlitzer Opus 298|Knickerbocker Theatre]]
| Columbus
| Ohio
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 301|301]]
|
| [[Wurlitzer Opus 301|Waltham Theatre]]
| Manhattan
| Kansas
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 305|305]]
|
| [[Wurlitzer Opus 305|Linwood Theatre]]
| Detroit
| Michigan
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 309|309]]
|
| [[Wurlitzer Opus 309|Deutsch Theatre]]
| Cleveland
| Ohio
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 311|311]]
|
| [[Wurlitzer Opus 311|Lyceum Theatre]]
| Cleveland
| Ohio
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 328|328]]
|
| [[Wurlitzer Opus 328|Lakeview Theatre]]
| Cleveland
| Ohio
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 332|332]]
|
| [[Wurlitzer Opus 332|Rialto Theatre]]
| Hamilton
| Ohio
| U.S.A.
| 160 X
| [[Wurlitzer Wiring Schedule 795|795]]
|-
| [[Wurlitzer Opus 336|336]]
|
| [[Wurlitzer Opus 336|Store]]
| Cincinnati
| Ohio
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 342|342]]
|
| [[Wurlitzer Opus 342|Criterion Theatre]]
| Buffalo
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 347|347]]
|
|
| Denver
| Colorado
| U.S.A.
| 160B
|
|-
| [[Wurlitzer Opus 350|350]]
|
|
| Portsmouth
| Ohio
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 355|355]]
|
| [[Wurlitzer Opus 355|Rivera Theatre]]
| Knoxville
| Tennessee
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 357|357]]
|
| [[Wurlitzer Opus 357|Gem Theatre]]
| Blytheville
| Arkansas
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 364|364]]
|
| [[Wurlitzer Opus 364|Olympic Theatre]]
| Wichita Fls
| Texas
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 365|365]]
|
| [[Wurlitzer Opus 365|North Park Theatre]]
| Buffalo
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 373|373]]
|
| [[Wurlitzer Opus 373|Colonial Theatre]]
| Albany
| New York
| U.S.A.
| 160 X
|
|-
| [[Wurlitzer Opus 376|376]]
|
| [[Wurlitzer Opus 376|Parthenon Theatre]]
| Brooklyn
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 377|377]]
|
|
| Corsicana
| Texas
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 386|386]]
|
| [[Wurlitzer Opus 386|Papineau Theatre]]
| Montreal
| Quebec
| Canada
| 160SP
|
|-
| [[Wurlitzer Opus 394|394]]
|
| [[Wurlitzer Opus 394|Warwick Theatre]]
| Kansas City
| Missouri
| U.S.A.
| 160SP
|
|-
| [[Wurlitzer Opus 395|395]]
|
| [[Wurlitzer Opus 395|Capitol Theatre]]
| Oklahoma Cty
| Oklahoma
| U.S.A.
| 160SP
|
|-
| [[Wurlitzer Opus 400|400]]
|
|
| Vincennes
| Indiana
| U.S.A.
| 160SP
|
|-
| [[Wurlitzer Opus 409|409]]
|
| [[Wurlitzer Opus 409|Majestic Theatre]]
| Springfield
| Oregon
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 417|417]]
|
| [[Wurlitzer Opus 417|Arcade Theatre]]
| Asbury Park
| New Jersey
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 418|418]]
|
| [[Wurlitzer Opus 418|Florence Theatre(Sunsing)]]
| New York
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 422|422]]
|
|
| New York
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 429|429]]
|
| [[Wurlitzer Opus 429|Chimes Theatre]]
| Oakland
| California
| U.S.A.
| 160SP
|
|-
| [[Wurlitzer Opus 431|431]]
|
| [[Wurlitzer Opus 431|Allen Theatre]]
| Akron
| Ohio
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 439|439]]
|
| [[Wurlitzer Opus 439|Glenwood Theatre]]
| Brooklyn
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 440|440]]
|
| [[Wurlitzer Opus 440|Star Theatre]]
| Weiser
| Idaho
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 444|444]]
|
| [[Wurlitzer Opus 444|National Theatre]]
| Brooklyn
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 450|450]]
|
| [[Wurlitzer Opus 450|Midway Theatre]]
| Montreal
| Quebec
| Canada
| 160
|
|-
| [[Wurlitzer Opus 454|454]]
|
| [[Wurlitzer Opus 454|State Theatre]]
| Middletown
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 457|457]]
|
| [[Wurlitzer Opus 457|Plaza Theatre (Churchill)]]
| Brussels
|
| Belgium
| 160
|
|-
| [[Wurlitzer Opus 459|459]]
|
| [[Wurlitzer Opus 459|Grande Theatre]]
| Detroit
| Michigan
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 462|462]]
|
| [[Wurlitzer Opus 462|Store]]
| Kansas City
| Missouri
| U.S.A.
| 160C
|
|-
| [[Wurlitzer Opus 465|465]]
|
| [[Wurlitzer Opus 465|Millers Capitol Theatre]]
| Brooklyn
| New York
| U.S.A.
| 160 X
|
|-
| [[Wurlitzer Opus 467|467]]
|
| [[Wurlitzer Opus 467|Rivola Theatre]]
| Detroit
| Michigan
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 471|471]]
|
| [[Wurlitzer Opus 471|Masonic Bldg]]
| Hammond
| Indiana
| U.S.A.
| 160C
|
|-
| [[Wurlitzer Opus 472|472]]
|
| [[Wurlitzer Opus 472|Kingsbridge Theatre]]
| Bronx
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 477|477]]
|
| [[Wurlitzer Opus 477|State Theatre]]
| Brooklyn
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 479|479]]
|
| [[Wurlitzer Opus 479|Ironbound Theatre]]
| Newark
| New Jersey
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 484|484]]
|
| [[Wurlitzer Opus 484|Strand Theatre]]
| Yonkers
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 485|485]]
|
| [[Wurlitzer Opus 485|Benson Theatre]]
| Brooklyn
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 488|488]]
|
| [[Wurlitzer Opus 488|Community Playhouse]]
| Meriden
| Connecticut
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 491|491]]
|
| [[Wurlitzer Opus 491|Plaza Theatre]]
| Charleston
| West Virginia
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 492|492]]
|
| [[Wurlitzer Opus 492|Benenson Theatre]]
| New York
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 507|507]]
|
| [[Wurlitzer Opus 507|Shkolnich Theatre]]
| Brooklyn
| New York
| U.S.A.
| 160 X
|
|-
| [[Wurlitzer Opus 508|508]]
|
| [[Wurlitzer Opus 508|Strand Theatre]]
| Middletown
| Ohio
| U.S.A.
| 160 X
|
|-
| [[Wurlitzer Opus 509|509]]
|
| [[Wurlitzer Opus 509|Avondale Theatre]]
| No Tonawanda
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 521|521]]
|
| [[Wurlitzer Opus 521|Somerset Theatre]]
| Somerville
| New Jersey
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 559|559]]
|
| [[Wurlitzer Opus 559|Teutonia Theatre]]
| Milwaukee
| Wisconsin
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 565|565]]
|
| [[Wurlitzer Opus 565|Leclaire Theatre(Illini)]]
| Moline
| Illinois
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 567|567]]
|
| [[Wurlitzer Opus 567|Freeman Theatre]]
| Bronx
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 576|576]]
|
| [[Wurlitzer Opus 576|Ogden Am Co Theatre]]
| Bronx
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 583|583]]
|
| [[Wurlitzer Opus 583|Lyric Theatre]]
| Huntington
| West Virginia
| U.S.A.
| 160
| [[Wurlitzer Wiring Schedule 539|539]]
|-
| [[Wurlitzer Opus 589|589]]
|
| [[Wurlitzer Opus 589|Dorchester Theatre]]
| Dorchester
| Massachusetts
| U.S.A.
| 160SP
|
|-
| [[Wurlitzer Opus 622|622]]
|
| [[Wurlitzer Opus 622|Statler Hotel Dine Rm]]
| Buffalo
| New York
| U.S.A.
| 1603M
| [[Wurlitzer Wiring Schedule 618|618]]
|-
| [[Wurlitzer Opus 624|624]]
|
| [[Wurlitzer Opus 624|Statler Hotel Ball Rm]]
| Buffalo
| New York
| U.S.A.
| 1603M
|
|-
| [[Wurlitzer Opus 652|652]]
|
| [[Wurlitzer Opus 652|Capitol Theatre]]
| Babylon
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 659|659]]
|
| [[Wurlitzer Opus 659|Colonial Theatre]]
| Bluefield
| West Virginia
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 667|667]]
|
| [[Wurlitzer Opus 667|Middleburg]]
| Logan
| West Virginia
| U.S.A.
| 160 X
|
|-
| [[Wurlitzer Opus 674|674]]
|
| [[Wurlitzer Opus 674|Arcade Theatre]]
| Jacksonville
| Florida
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 703|703]]
|
| [[Wurlitzer Opus 703|Sorg Theatre]]
| Middletown
| Ohio
| U.S.A.
| 160 X
|
|-
| [[Wurlitzer Opus 709|709]]
|
| [[Wurlitzer Opus 709|Whittle Music Co]]
| Wichita Fls
| Texas
| U.S.A.
| 160 X
|
|-
| [[Wurlitzer Opus 714|714]]
|
| [[Wurlitzer Opus 714|Tuchinski Theatre]]
| Amsterdam
|
| Holland
| 160
|
|-
| [[Wurlitzer Opus 753|753]]
|
| [[Wurlitzer Opus 753|Strand Theatre]]
| Tampa
| Florida
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 903|903]]
|
| [[Wurlitzer Opus 903|New Theatre]]
| Maspeth
| New York
| U.S.A.
| 160
| [[Wurlitzer Wiring Schedule 570|570]]
|-
| [[Wurlitzer Opus 1078|1078]]
|
| [[Wurlitzer Opus 1078|Plaza Theatre]]
| San Antonio
| Texas
| U.S.A.
| 160CC
|
|-
| [[Wurlitzer Opus 1382|1382]]
|
| [[Wurlitzer Opus 1382|Interboro Theatre]]
| New York
| New York
| U.S.A.
| 160
| [[Wurlitzer Wiring Schedule 570|570]]
|-
| [[Wurlitzer Opus 1715|1715]]
|
| [[Wurlitzer Opus 1715|Canarsie Ave L Theatre]]
| Canarisie
| New York
| U.S.A.
| 160
| [[Wurlitzer Wiring Schedule 570|570]]
|-
| [[Wurlitzer Opus 1748|1748]]
|
| [[Wurlitzer Opus 1748|Cozy Theatre]]
| Palmeston
|
| New Zealand
| 160SP
|
|-
| [[Wurlitzer Opus 1811|1811]]
|
| [[Wurlitzer Opus 1811|New Theatre]]
| Bronx
| New York
| U.S.A.
| 160
| [[Wurlitzer Wiring Schedule 570|570]]
|}

Wurlitzer Style 1

2025-07-21T20:28:58Z

GabrielPeressini:

{| class="infobox" style="width: 320px; float: right; border: 1px solid #aaa; background-color: #f9f9f9; font-size: 90%;"
|+ style="font-size: 110%; font-weight: bold; background-color: #ccc; text-align: center;" | Wurlitzer Style 1
|-
! Console Type
| {{{console_type|Piano Console}}}
|-
! Bolsters
| {{{bolsters|1}}}
|-
! Manuals
| {{{manuals|2}}}
|-
! Ranks
| {{{ranks|4}}}
|-
! Tuned Percussions
| {{{percussions|4}}}
|-
! Traps
| {{{traps|7}}}

|-
! colspan="2" style="background-color:#ddd;" | Rank Information
|-
| colspan="2" |
{| class="wikitable" style="width:100%; font-size:90%; text-align: center;"
! Rank Name !! Lowest Pitch !! Notes
|-
| [[Trumpet_(Rank)|Trumpet]] || 8' || 61 Pipes
|-
| [[Concert Flute_(Rank)|Concert Flute]] || 16' || 85 Pipes
|-
| [[Salicional_(Rank)|Salicional]] || 8' || 73 Pipes
|-
| [[Vox Humana_(Rank)|Vox Humana]] || 8' || 61 Pipes
|-
| [[Piano|Piano (with Mandolin Attachment)]] || || 85 Notes
|-
| [[Cathedral Chimes|Cathedral Chimes]] || || 18 Notes
|-
| [[Xylophone|Xylophone]] || || 30 Notes
|-
| [[Glockenspiel|Glockenspiel]] || || 30 Notes
|}
|-
|}

==Layout – Manuals & Touches==
{| class="wikitable" style="vertical-align:bottom;"
|- style="font-style:italic; font-weight:bold; text-align:center; vertical-align:middle;"
! Pedal
! Accompaniment
! Solo
! Tremulants
|-
| style="background-color:#F9F9F9; color:#202122;" | 16' Bourdon
| style="background-color:#F00; color:#202122;" | 8' Trumpet
| style="background-color:#F9F9F9; color:#202122;" | 16' Bourdon
| General
|-
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
| style="background-color:#F9F9F9; color:#202122;" | 8' Concert Flute
| style="background-color:#F00; color:#202122;" | 8' Trumpet
|
|-
| style="background-color:#F9F9F9; color:#202122;" | 8' Cello
| style="background-color:#F9F9F9; color:#202122;" | 8' Salicional
| style="background-color:#F9F9F9; color:#202122;" | 8' Concert Flute
|
|-
| style="background-color:#F9F9F9; color:#202122;" | Bass Drum
| style="background-color:#F9F9F9; color:#202122;" | 4' Flute
| style="background-color:#F9F9F9; color:#202122;" | 8' Salicional
|
|-
| style="background-color:#F9F9F9; color:#202122;" | Kettle Drum
| style="background-color:#F9F9F9; color:#202122;" | 4' Salicet
| style="background-color:#F9F9F9; color:#202122;" | 8' Vox Humana
|
|-
| style="background-color:#F9F9F9; color:#202122;" | Cymbal
| style="background-color:#F9F9F9; color:#202122;" | Piano
| style="background-color:#F9F9F9; color:#202122;" | 4' Flute
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Mandolin
| style="background-color:#F9F9F9; color:#202122;" | 4' Salicet
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Snare Drum
| style="background-color:#F9F9F9; color:#202122;" | Glockenspiel
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Castanets
| style="background-color:#F9F9F9; color:#202122;" | Xylophone
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Tambourine
| style="background-color:#F9F9F9; color:#202122;" | Cathedral Chimes
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Tom Tom
|
|
|}

== List of Known Installations ==

{| class="wikitable sortable"
! Opus
! Year Installed
! Location
! City
! State
! Country
! Style
! Wiring Schedule
|-
| [[Wurlitzer Opus 25|25]]
|
| [[Wurlitzer Opus 25|New Pitt Theatre]]
| Pittsburgh
| Pennsylvania
| U.S.A.
| 1
|
|-
| [[Wurlitzer Opus 33|33]]
|
|
| Cincinnati
| Ohio
| U.S.A.
| 1
|
|-
| [[Wurlitzer Opus 100|100]]
|
| [[Wurlitzer Opus 100|Flash Theatre]]
| Tonawanda
| New York
| U.S.A.
| 1
|
|-
| [[Wurlitzer Opus 104|104]]
|
| [[Wurlitzer Opus 104|Bell Theatre]]
| Chicago
| Illinois
| U.S.A.
| 1
|
|-
| [[Wurlitzer Opus 105|105]]
|
| [[Wurlitzer Opus 105|Isis Theatre]]
| Grand Rapids
| Michigan
| U.S.A.
| 1
|
|-
| [[Wurlitzer Opus 111|111]]
|
| [[Wurlitzer Opus 111|Family Theatre]]
| Port Huron
| Michigan
| U.S.A.
| 1
|
|-
| [[Wurlitzer Opus 113|113]]
|
| [[Wurlitzer Opus 113|Grand Theatre]]
| Charlotte
| North Carolina
| U.S.A.
| 1
|
|-
| [[Wurlitzer Opus 114|114]]
|
| [[Wurlitzer Opus 114|Race Theatre(Irvine) Op 23]]
| Chicago
| Illinois
| U.S.A.
| 1 SP
|
|-
| [[Wurlitzer Opus 116|116]]
|
| [[Wurlitzer Opus 116|Fullerton Theatre]]
| Chicago
| Illinois
| U.S.A.
| 1
|
|-
| [[Wurlitzer Opus 118|118]]
|
| [[Wurlitzer Opus 118|City Sq Theatre]]
| Atlantic Cy
| New Jersey
| U.S.A.
| 1 SP
|
|-
| [[Wurlitzer Opus 120|120]]
|
|
| New York
| New York
| U.S.A.
| 1
|
|-
| [[Wurlitzer Opus 122|122]]
|
|
| Chicago
| Illinois
| U.S.A.
| 1
|
|-
| [[Wurlitzer Opus 123|123]]
|
|
| Milwaukee
| Wisconsin
| U.S.A.
| 1
|
|-
| [[Wurlitzer Opus 125|125]]
|
|
| Cincinnati
| Ohio
| U.S.A.
| 1
|
|-
| [[Wurlitzer Opus 128|128]]
|
| [[Wurlitzer Opus 128|Orpheum Theatre (Wurerth)]]
| Ann Arbor
| Michigan
| U.S.A.
| 1
|
|-
| [[Wurlitzer Opus 135|135]]
|
|
| New York
| New York
| U.S.A.
| 1
|
|-
| [[Wurlitzer Opus 137|137]]
|
| [[Wurlitzer Opus 137|Sheffield Theatre]]
| New York
| New York
| U.S.A.
| 1 PL
|
|-
| [[Wurlitzer Opus 139|139]]
|
|
| New York
| New York
| U.S.A.
| 1 PL
|
|-
| [[Wurlitzer Opus 143|143]]
|
|
| New York
| New York
| U.S.A.
| 1
|
|-
| [[Wurlitzer Opus 144|144]]
|
| [[Wurlitzer Opus 144|W A M Co]]
| Dallas
| Texas
| U.S.A.
| 1
|
|-
| [[Wurlitzer Opus 146|146]]
|
| [[Wurlitzer Opus 146|Store]]
| San Francisco
| California
| U.S.A.
| 1 PL
|
|-
| [[Wurlitzer Opus 147|147]]
|
|
| New York
| New York
| U.S.A.
| 1 PL
|
|-
| [[Wurlitzer Opus 148|148]]
|
|
| Chicago
| Illinois
| U.S.A.
| 1
|
|-
| [[Wurlitzer Opus 150|150]]
|
| [[Wurlitzer Opus 150|Melba Theatre]]
| Melbourne
| Victoria
| Australia
| 1 PL
|
|-
| [[Wurlitzer Opus 152|152]]
|
| [[Wurlitzer Opus 152|Schlommen]]
| Muskegon
| Michigan
| U.S.A.
| 1 PL
|
|-
| [[Wurlitzer Opus 153|153]]
|
| [[Wurlitzer Opus 153|Rialto Theatre]]
| Waterbury
| Connecticut
| U.S.A.
| 1 PL
|
|-
| [[Wurlitzer Opus 156|156]]
|
|
| Winston Sal
| North Carolina
| U.S.A.
| 1 SP
|
|-
| [[Wurlitzer Opus 162|162]]
|
| [[Wurlitzer Opus 162|Store]]
| New York
| New York
| U.S.A.
| 1 PL
|
|-
| [[Wurlitzer Opus 163|163]]
|
| [[Wurlitzer Opus 163|Store]]
| San Francisco
| California
| U.S.A.
| 1 PL
|
|-
| [[Wurlitzer Opus 168|168]]
|
| [[Wurlitzer Opus 168|Store]]
| Madison
| Wisconsin
| U.S.A.
| 1
|
|}

Wurlitzer Style 160

2025-07-21T20:28:35Z

GabrielPeressini:

{| class="infobox" style="width: 320px; float: right; border: 1px solid #aaa; background-color: #f9f9f9; font-size: 90%;"
|+ style="font-size: 110%; font-weight: bold; background-color: #ccc; text-align: center;" | Wurlitzer Style 160
|-
! Console Type
| {{{console_type|Piano Console}}}
|-
! Bolsters
| {{{bolsters|1}}}
|-
! Manuals
| {{{manuals|2}}}
|-
! Ranks
| {{{ranks|6}}}
|-
! Tuned Percussions
| {{{percussions|4}}}
|-
! Traps
| {{{traps|17}}}

|-
! colspan="2" style="background-color:#ddd;" | Rank Information
|-
| colspan="2" |
{| class="wikitable" style="width:100%; font-size:90%; text-align: center;"
! Rank Name !! Lowest Pitch !! Notes
|-
| [[Trumpet_(Rank)|Trumpet]] || 8' || 61 Pipes
|-
| [[Open Diapason_(Rank)|Open Diapason]] || 16' || 73 Pipes
|-
| [[Salicional_(Rank)|Salicional]] || 8' || 73 Pipes
|-
| [[Salicional Celeste (TC)_(Rank)|Salicional Celeste (TC)]] || 8' || 61 Pipes
|-
| [[Flute_(Rank)|Flute]] || 16' || 85 Pipes
|-
| [[Vox Humana_(Rank)|Vox Humana]] || 8' || 61 Pipes
|-
| [[Cathedral Chimes|Cathedral Chimes]] || || 18 Notes
|-
| [[Xylophone|Xylophone]] || || 30 Notes
|-
| [[Glockenspiel|Glockenspiel]] || || 30 Notes
|-
| [[Piano|Piano (with Mandolin Attachment)]] || || 88 Notes
|}
|-
! colspan="2" | <hr />
|-
! Toe Pistons
| {{{Toe Pistons| Sleigh Bells Horse Hoofs Surf Bird Auto Horn Fire Gong Fire Gong (re-it) Steamboat Whistle Siren Tom Tom Train Triangle }}}
|-
! colspan="2" | <hr />
|-
! Push Button
| {{{PushButtons| Door Bell }}}
|}

== Layout – Manuals & Touches ==
{| class="wikitable"
|- style="font-style:italic; font-weight:bold; text-align:center; vertical-align:bottom;"
! Pedal
! Accompaniment
! Solo
! Tremulants
|- style="text-align:center;"
| style="vertical-align:middle; background-color:#F9F9F9; text-align:left;" |
| style="background-color:#F9F9F9; color:#202122;" | 5 Adjustable Combination Pistons (Accomp & Pedal)
| style="background-color:#F9F9F9; color:#202122;" | 5 Adjustable Combination Pistons (Solo & Pedal)
| style="vertical-align:bottom; text-align:left;" |
|- style="vertical-align:bottom; background-color:#F9F9F9; color:#202122;"
| 16' Bass
| style="background-color:#F00;" | 8' Trumpet
| 16' Bourdon
| General
|- style="vertical-align:bottom; background-color:#F9F9F9; color:#202122;"
| 16' Bourdon
| 8' Open Diapason
| style="background-color:#F00;" | 8' Trumpet
| Vox Humana
|- style="vertical-align:bottom;"
| style="background-color:#F9F9F9; color:#202122;" | 8' Open Diapason
| style="background-color:#F9F9F9; color:#202122;" | 8' Salicional
| style="background-color:#F9F9F9; color:#202122;" | 8' Open Diapason
|
|- style="vertical-align:bottom;"
| style="background-color:#FBBC04;" | 8' Cello
| style="background-color:#FBBC04; color:#202122;" | 8' Viol Celeste (TC)
| style="background-color:#F9F9F9; color:#202122;" | 8' Salicional
|
|- style="vertical-align:bottom;"
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
| style="background-color:#FBBC04; color:#202122;" | 8' Viol Celeste (TC)
|
|- style="vertical-align:bottom;"
| style="background-color:#F9F9F9; color:#202122;" | Bass Drum
| style="background-color:#F9F9F9; color:#202122;" | 4' Salicet
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
|
|- style="vertical-align:bottom;"
| style="background-color:#F9F9F9; color:#202122;" | Kettle Drum
| style="background-color:#FBBC04; color:#202122;" | 4' Octave Celeste
| style="background-color:#F00; color:#202122;" | 8' Vox Humana
|
|- style="vertical-align:bottom;"
| style="background-color:#F9F9F9; color:#202122;" | Cymbal
| style="background-color:#F9F9F9; color:#202122;" | 4' Flute
| style="background-color:#F9F9F9; color:#202122;" | 4' Salicet
|
|- style="vertical-align:bottom;"
|
| style="background-color:#F9F9F9; color:#202122;" | Piano
| style="background-color:#F9F9F9; color:#202122;" | 4' Octave Celeste
|
|- style="vertical-align:bottom;"
|
| style="background-color:#F9F9F9; color:#202122;" | Mandolin
| style="background-color:#F9F9F9; color:#202122;" | 4' Flute
|
|- style="vertical-align:bottom;"
|
| style="background-color:#F9F9F9; color:#202122;" | Snare Drum
| style="background-color:#F9F9F9; color:#202122;" | Cathedral Chimes
|
|- style="vertical-align:bottom;"
|
| style="background-color:#F9F9F9; color:#202122;" | Tambourine
| style="background-color:#F9F9F9; color:#202122;" | Xylophone
|
|- style="vertical-align:bottom;"
|
| style="background-color:#F9F9F9; color:#202122;" | Castanets
| style="background-color:#F9F9F9; color:#202122;" | Glockenspiel
|
|- style="vertical-align:bottom;"
|
| style="background-color:#F9F9F9; color:#202122;" | Chinese Block
|
|
|}

== List of Known Installations ==

{| class="wikitable sortable"
! Opus
! Year Installed
! Location
! City
! State
! Country
! Style
! Wiring Schedule
|-
| [[Wurlitzer Opus 184|184]]
|
|
| Johnstown
| Pennsylvania
| U.S.A.
| 160CC
|
|-
| [[Wurlitzer Opus 204|204]]
|
| [[Wurlitzer Opus 204|Bijou Theatre]]
| Mt Clemens
| Michigan
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 218|218]]
|
|
| Orange
| Texas
| U.S.A.
| 160 X
|
|-
| [[Wurlitzer Opus 226|226]]
|
|
| New York
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 234|234]]
|
| [[Wurlitzer Opus 234|Family Theatre]]
| Cincinnati
| Ohio
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 239|239]]
|
| [[Wurlitzer Opus 239|Winter Theatre]]
| Akron
| Ohio
| U.S.A.
| 160C
|
|-
| [[Wurlitzer Opus 243|243]]
|
| [[Wurlitzer Opus 243|Smith Theatre]]
| Akron
| Ohio
| U.S.A.
| 160C
|
|-
| [[Wurlitzer Opus 255|255]]
|
| [[Wurlitzer Opus 255|Universal Theatre]]
| Salt Lk City
| Utah
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 265|265]]
|
|
| Corvallis
| Oregon
| U.S.A.
| 160SP
|
|-
| [[Wurlitzer Opus 269|269]]
|
|
| Buffalo
| New York
| U.S.A.
| 160C
|
|-
| [[Wurlitzer Opus 293|293]]
|
| [[Wurlitzer Opus 293|Criterion Theatre]]
| New York
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 298|298]]
|
| [[Wurlitzer Opus 298|Knickerbocker Theatre]]
| Columbus
| Ohio
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 301|301]]
|
| [[Wurlitzer Opus 301|Waltham Theatre]]
| Manhattan
| Kansas
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 305|305]]
|
| [[Wurlitzer Opus 305|Linwood Theatre]]
| Detroit
| Michigan
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 309|309]]
|
| [[Wurlitzer Opus 309|Deutsch Theatre]]
| Cleveland
| Ohio
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 311|311]]
|
| [[Wurlitzer Opus 311|Lyceum Theatre]]
| Cleveland
| Ohio
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 328|328]]
|
| [[Wurlitzer Opus 328|Lakeview Theatre]]
| Cleveland
| Ohio
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 332|332]]
|
| [[Wurlitzer Opus 332|Rialto Theatre]]
| Hamilton
| Ohio
| U.S.A.
| 160 X
| [[Wurlitzer Wiring Schedule 795|795]]
|-
| [[Wurlitzer Opus 336|336]]
|
| [[Wurlitzer Opus 336|Store]]
| Cincinnati
| Ohio
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 342|342]]
|
| [[Wurlitzer Opus 342|Criterion Theatre]]
| Buffalo
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 347|347]]
|
|
| Denver
| Colorado
| U.S.A.
| 160B
|
|-
| [[Wurlitzer Opus 350|350]]
|
|
| Portsmouth
| Ohio
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 355|355]]
|
| [[Wurlitzer Opus 355|Rivera Theatre]]
| Knoxville
| Tennessee
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 357|357]]
|
| [[Wurlitzer Opus 357|Gem Theatre]]
| Blytheville
| Arkansas
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 364|364]]
|
| [[Wurlitzer Opus 364|Olympic Theatre]]
| Wichita Fls
| Texas
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 365|365]]
|
| [[Wurlitzer Opus 365|North Park Theatre]]
| Buffalo
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 373|373]]
|
| [[Wurlitzer Opus 373|Colonial Theatre]]
| Albany
| New York
| U.S.A.
| 160 X
|
|-
| [[Wurlitzer Opus 376|376]]
|
| [[Wurlitzer Opus 376|Parthenon Theatre]]
| Brooklyn
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 377|377]]
|
|
| Corsicana
| Texas
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 386|386]]
|
| [[Wurlitzer Opus 386|Papineau Theatre]]
| Montreal
| Quebec
| Canada
| 160SP
|
|-
| [[Wurlitzer Opus 394|394]]
|
| [[Wurlitzer Opus 394|Warwick Theatre]]
| Kansas City
| Missouri
| U.S.A.
| 160SP
|
|-
| [[Wurlitzer Opus 395|395]]
|
| [[Wurlitzer Opus 395|Capitol Theatre]]
| Oklahoma Cty
| Oklahoma
| U.S.A.
| 160SP
|
|-
| [[Wurlitzer Opus 400|400]]
|
|
| Vincennes
| Indiana
| U.S.A.
| 160SP
|
|-
| [[Wurlitzer Opus 409|409]]
|
| [[Wurlitzer Opus 409|Majestic Theatre]]
| Springfield
| Oregon
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 417|417]]
|
| [[Wurlitzer Opus 417|Arcade Theatre]]
| Asbury Park
| New Jersey
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 418|418]]
|
| [[Wurlitzer Opus 418|Florence Theatre(Sunsing)]]
| New York
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 422|422]]
|
|
| New York
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 429|429]]
|
| [[Wurlitzer Opus 429|Chimes Theatre]]
| Oakland
| California
| U.S.A.
| 160SP
|
|-
| [[Wurlitzer Opus 431|431]]
|
| [[Wurlitzer Opus 431|Allen Theatre]]
| Akron
| Ohio
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 439|439]]
|
| [[Wurlitzer Opus 439|Glenwood Theatre]]
| Brooklyn
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 440|440]]
|
| [[Wurlitzer Opus 440|Star Theatre]]
| Weiser
| Idaho
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 444|444]]
|
| [[Wurlitzer Opus 444|National Theatre]]
| Brooklyn
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 450|450]]
|
| [[Wurlitzer Opus 450|Midway Theatre]]
| Montreal
| Quebec
| Canada
| 160
|
|-
| [[Wurlitzer Opus 454|454]]
|
| [[Wurlitzer Opus 454|State Theatre]]
| Middletown
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 457|457]]
|
| [[Wurlitzer Opus 457|Plaza Theatre (Churchill)]]
| Brussels
|
| Belgium
| 160
|
|-
| [[Wurlitzer Opus 459|459]]
|
| [[Wurlitzer Opus 459|Grande Theatre]]
| Detroit
| Michigan
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 462|462]]
|
| [[Wurlitzer Opus 462|Store]]
| Kansas City
| Missouri
| U.S.A.
| 160C
|
|-
| [[Wurlitzer Opus 465|465]]
|
| [[Wurlitzer Opus 465|Millers Capitol Theatre]]
| Brooklyn
| New York
| U.S.A.
| 160 X
|
|-
| [[Wurlitzer Opus 467|467]]
|
| [[Wurlitzer Opus 467|Rivola Theatre]]
| Detroit
| Michigan
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 471|471]]
|
| [[Wurlitzer Opus 471|Masonic Bldg]]
| Hammond
| Indiana
| U.S.A.
| 160C
|
|-
| [[Wurlitzer Opus 472|472]]
|
| [[Wurlitzer Opus 472|Kingsbridge Theatre]]
| Bronx
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 477|477]]
|
| [[Wurlitzer Opus 477|State Theatre]]
| Brooklyn
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 479|479]]
|
| [[Wurlitzer Opus 479|Ironbound Theatre]]
| Newark
| New Jersey
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 484|484]]
|
| [[Wurlitzer Opus 484|Strand Theatre]]
| Yonkers
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 485|485]]
|
| [[Wurlitzer Opus 485|Benson Theatre]]
| Brooklyn
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 488|488]]
|
| [[Wurlitzer Opus 488|Community Playhouse]]
| Meriden
| Connecticut
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 491|491]]
|
| [[Wurlitzer Opus 491|Plaza Theatre]]
| Charleston
| West Virginia
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 492|492]]
|
| [[Wurlitzer Opus 492|Benenson Theatre]]
| New York
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 507|507]]
|
| [[Wurlitzer Opus 507|Shkolnich Theatre]]
| Brooklyn
| New York
| U.S.A.
| 160 X
|
|-
| [[Wurlitzer Opus 508|508]]
|
| [[Wurlitzer Opus 508|Strand Theatre]]
| Middletown
| Ohio
| U.S.A.
| 160 X
|
|-
| [[Wurlitzer Opus 509|509]]
|
| [[Wurlitzer Opus 509|Avondale Theatre]]
| No Tonawanda
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 521|521]]
|
| [[Wurlitzer Opus 521|Somerset Theatre]]
| Somerville
| New Jersey
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 559|559]]
|
| [[Wurlitzer Opus 559|Teutonia Theatre]]
| Milwaukee
| Wisconsin
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 565|565]]
|
| [[Wurlitzer Opus 565|Leclaire Theatre(Illini)]]
| Moline
| Illinois
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 567|567]]
|
| [[Wurlitzer Opus 567|Freeman Theatre]]
| Bronx
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 576|576]]
|
| [[Wurlitzer Opus 576|Ogden Am Co Theatre]]
| Bronx
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 583|583]]
|
| [[Wurlitzer Opus 583|Lyric Theatre]]
| Huntington
| West Virginia
| U.S.A.
| 160
| [[Wurlitzer Wiring Schedule 539|539]]
|-
| [[Wurlitzer Opus 589|589]]
|
| [[Wurlitzer Opus 589|Dorchester Theatre]]
| Dorchester
| Massachusetts
| U.S.A.
| 160SP
|
|-
| [[Wurlitzer Opus 622|622]]
|
| [[Wurlitzer Opus 622|Statler Hotel Dine Rm]]
| Buffalo
| New York
| U.S.A.
| 1603M
| [[Wurlitzer Wiring Schedule 618|618]]
|-
| [[Wurlitzer Opus 624|624]]
|
| [[Wurlitzer Opus 624|Statler Hotel Ball Rm]]
| Buffalo
| New York
| U.S.A.
| 1603M
|
|-
| [[Wurlitzer Opus 652|652]]
|
| [[Wurlitzer Opus 652|Capitol Theatre]]
| Babylon
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 659|659]]
|
| [[Wurlitzer Opus 659|Colonial Theatre]]
| Bluefield
| West Virginia
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 667|667]]
|
| [[Wurlitzer Opus 667|Middleburg]]
| Logan
| West Virginia
| U.S.A.
| 160 X
|
|-
| [[Wurlitzer Opus 674|674]]
|
| [[Wurlitzer Opus 674|Arcade Theatre]]
| Jacksonville
| Florida
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 703|703]]
|
| [[Wurlitzer Opus 703|Sorg Theatre]]
| Middletown
| Ohio
| U.S.A.
| 160 X
|
|-
| [[Wurlitzer Opus 709|709]]
|
| [[Wurlitzer Opus 709|Whittle Music Co]]
| Wichita Fls
| Texas
| U.S.A.
| 160 X
|
|-
| [[Wurlitzer Opus 714|714]]
|
| [[Wurlitzer Opus 714|Tuchinski Theatre]]
| Amsterdam
|
| Holland
| 160
|
|-
| [[Wurlitzer Opus 753|753]]
|
| [[Wurlitzer Opus 753|Strand Theatre]]
| Tampa
| Florida
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 903|903]]
|
| [[Wurlitzer Opus 903|New Theatre]]
| Maspeth
| New York
| U.S.A.
| 160
| [[Wurlitzer Wiring Schedule 570|570]]
|-
| [[Wurlitzer Opus 1078|1078]]
|
| [[Wurlitzer Opus 1078|Plaza Theatre]]
| San Antonio
| Texas
| U.S.A.
| 160CC
|
|-
| [[Wurlitzer Opus 1382|1382]]
|
| [[Wurlitzer Opus 1382|Interboro Theatre]]
| New York
| New York
| U.S.A.
| 160
| [[Wurlitzer Wiring Schedule 570|570]]
|-
| [[Wurlitzer Opus 1715|1715]]
|
| [[Wurlitzer Opus 1715|Canarsie Ave L Theatre]]
| Canarisie
| New York
| U.S.A.
| 160
| [[Wurlitzer Wiring Schedule 570|570]]
|-
| [[Wurlitzer Opus 1748|1748]]
|
| [[Wurlitzer Opus 1748|Cozy Theatre]]
| Palmeston
|
| New Zealand
| 160SP
|
|-
| [[Wurlitzer Opus 1811|1811]]
|
| [[Wurlitzer Opus 1811|New Theatre]]
| Bronx
| New York
| U.S.A.
| 160
| [[Wurlitzer Wiring Schedule 570|570]]
|}

Wurlitzer Style 160

2025-07-21T20:28:23Z

GabrielPeressini:

{| class="infobox" style="width: 320px; float: right; border: 1px solid #aaa; background-color: #f9f9f9; font-size: 90%;"
|+ style="font-size: 110%; font-weight: bold; background-color: #ccc; text-align: center;" | Wurlitzer Style 160
|-
! Console Type
| {{{console_type|Piano Console}}}
|-
! Bolsters
| {{{bolsters|1}}}
|-
! Manuals
| {{{manuals|2}}}
|-
! Ranks
| {{{ranks|6}}}
|-
! Tuned Percussions
| {{{percussions|4}}}
|-
! Traps
| {{{traps|17}}}

|-
! colspan="2" style="background-color:#ddd;" | Rank Information
|-
| colspan="2" |
{| class="wikitable" style="width:100%; font-size:90%; text-align: center;"
! Rank Name !! Lowest Pitch !! Notes
|-
| [[Trumpet_(Rank)|Trumpet]] || 8' || 61 Pipes
|-
| [[Open Diapason_(Rank)|Open Diapason]] || 16' || 73 Pipes
|-
| [[Salicional_(Rank)|Salicional]] || 8' || 73 Pipes
|-
| [[Salicional Celeste (TC)_(Rank)|Salicional Celeste (TC)]] || 8' || 61 Pipes
|-
| [[Flute_(Rank)|Flute]] || 16' || 85 Pipes
|-
| [[Vox Humana_(Rank)|Vox Humana]] || 8' || 61 Pipes
|-
| [[Cathedral Chimes|Cathedral Chimes]] || || 18 Notes
|-
| [[Xylophone|Xylophone]] || || 30 Notes
|-
| [[Glockenspiel|Glockenspiel]] || || 30 Notes
|-
| [[Piano (with Mandolin Attachment)|Piano]] || || 88 Notes
|}
|-
! colspan="2" | <hr />
|-
! Toe Pistons
| {{{Toe Pistons| Sleigh Bells Horse Hoofs Surf Bird Auto Horn Fire Gong Fire Gong (re-it) Steamboat Whistle Siren Tom Tom Train Triangle }}}
|-
! colspan="2" | <hr />
|-
! Push Button
| {{{PushButtons| Door Bell }}}
|}

== Layout – Manuals & Touches ==
{| class="wikitable"
|- style="font-style:italic; font-weight:bold; text-align:center; vertical-align:bottom;"
! Pedal
! Accompaniment
! Solo
! Tremulants
|- style="text-align:center;"
| style="vertical-align:middle; background-color:#F9F9F9; text-align:left;" |
| style="background-color:#F9F9F9; color:#202122;" | 5 Adjustable Combination Pistons (Accomp & Pedal)
| style="background-color:#F9F9F9; color:#202122;" | 5 Adjustable Combination Pistons (Solo & Pedal)
| style="vertical-align:bottom; text-align:left;" |
|- style="vertical-align:bottom; background-color:#F9F9F9; color:#202122;"
| 16' Bass
| style="background-color:#F00;" | 8' Trumpet
| 16' Bourdon
| General
|- style="vertical-align:bottom; background-color:#F9F9F9; color:#202122;"
| 16' Bourdon
| 8' Open Diapason
| style="background-color:#F00;" | 8' Trumpet
| Vox Humana
|- style="vertical-align:bottom;"
| style="background-color:#F9F9F9; color:#202122;" | 8' Open Diapason
| style="background-color:#F9F9F9; color:#202122;" | 8' Salicional
| style="background-color:#F9F9F9; color:#202122;" | 8' Open Diapason
|
|- style="vertical-align:bottom;"
| style="background-color:#FBBC04;" | 8' Cello
| style="background-color:#FBBC04; color:#202122;" | 8' Viol Celeste (TC)
| style="background-color:#F9F9F9; color:#202122;" | 8' Salicional
|
|- style="vertical-align:bottom;"
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
| style="background-color:#FBBC04; color:#202122;" | 8' Viol Celeste (TC)
|
|- style="vertical-align:bottom;"
| style="background-color:#F9F9F9; color:#202122;" | Bass Drum
| style="background-color:#F9F9F9; color:#202122;" | 4' Salicet
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
|
|- style="vertical-align:bottom;"
| style="background-color:#F9F9F9; color:#202122;" | Kettle Drum
| style="background-color:#FBBC04; color:#202122;" | 4' Octave Celeste
| style="background-color:#F00; color:#202122;" | 8' Vox Humana
|
|- style="vertical-align:bottom;"
| style="background-color:#F9F9F9; color:#202122;" | Cymbal
| style="background-color:#F9F9F9; color:#202122;" | 4' Flute
| style="background-color:#F9F9F9; color:#202122;" | 4' Salicet
|
|- style="vertical-align:bottom;"
|
| style="background-color:#F9F9F9; color:#202122;" | Piano
| style="background-color:#F9F9F9; color:#202122;" | 4' Octave Celeste
|
|- style="vertical-align:bottom;"
|
| style="background-color:#F9F9F9; color:#202122;" | Mandolin
| style="background-color:#F9F9F9; color:#202122;" | 4' Flute
|
|- style="vertical-align:bottom;"
|
| style="background-color:#F9F9F9; color:#202122;" | Snare Drum
| style="background-color:#F9F9F9; color:#202122;" | Cathedral Chimes
|
|- style="vertical-align:bottom;"
|
| style="background-color:#F9F9F9; color:#202122;" | Tambourine
| style="background-color:#F9F9F9; color:#202122;" | Xylophone
|
|- style="vertical-align:bottom;"
|
| style="background-color:#F9F9F9; color:#202122;" | Castanets
| style="background-color:#F9F9F9; color:#202122;" | Glockenspiel
|
|- style="vertical-align:bottom;"
|
| style="background-color:#F9F9F9; color:#202122;" | Chinese Block
|
|
|}

== List of Known Installations ==

{| class="wikitable sortable"
! Opus
! Year Installed
! Location
! City
! State
! Country
! Style
! Wiring Schedule
|-
| [[Wurlitzer Opus 184|184]]
|
|
| Johnstown
| Pennsylvania
| U.S.A.
| 160CC
|
|-
| [[Wurlitzer Opus 204|204]]
|
| [[Wurlitzer Opus 204|Bijou Theatre]]
| Mt Clemens
| Michigan
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 218|218]]
|
|
| Orange
| Texas
| U.S.A.
| 160 X
|
|-
| [[Wurlitzer Opus 226|226]]
|
|
| New York
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 234|234]]
|
| [[Wurlitzer Opus 234|Family Theatre]]
| Cincinnati
| Ohio
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 239|239]]
|
| [[Wurlitzer Opus 239|Winter Theatre]]
| Akron
| Ohio
| U.S.A.
| 160C
|
|-
| [[Wurlitzer Opus 243|243]]
|
| [[Wurlitzer Opus 243|Smith Theatre]]
| Akron
| Ohio
| U.S.A.
| 160C
|
|-
| [[Wurlitzer Opus 255|255]]
|
| [[Wurlitzer Opus 255|Universal Theatre]]
| Salt Lk City
| Utah
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 265|265]]
|
|
| Corvallis
| Oregon
| U.S.A.
| 160SP
|
|-
| [[Wurlitzer Opus 269|269]]
|
|
| Buffalo
| New York
| U.S.A.
| 160C
|
|-
| [[Wurlitzer Opus 293|293]]
|
| [[Wurlitzer Opus 293|Criterion Theatre]]
| New York
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 298|298]]
|
| [[Wurlitzer Opus 298|Knickerbocker Theatre]]
| Columbus
| Ohio
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 301|301]]
|
| [[Wurlitzer Opus 301|Waltham Theatre]]
| Manhattan
| Kansas
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 305|305]]
|
| [[Wurlitzer Opus 305|Linwood Theatre]]
| Detroit
| Michigan
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 309|309]]
|
| [[Wurlitzer Opus 309|Deutsch Theatre]]
| Cleveland
| Ohio
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 311|311]]
|
| [[Wurlitzer Opus 311|Lyceum Theatre]]
| Cleveland
| Ohio
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 328|328]]
|
| [[Wurlitzer Opus 328|Lakeview Theatre]]
| Cleveland
| Ohio
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 332|332]]
|
| [[Wurlitzer Opus 332|Rialto Theatre]]
| Hamilton
| Ohio
| U.S.A.
| 160 X
| [[Wurlitzer Wiring Schedule 795|795]]
|-
| [[Wurlitzer Opus 336|336]]
|
| [[Wurlitzer Opus 336|Store]]
| Cincinnati
| Ohio
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 342|342]]
|
| [[Wurlitzer Opus 342|Criterion Theatre]]
| Buffalo
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 347|347]]
|
|
| Denver
| Colorado
| U.S.A.
| 160B
|
|-
| [[Wurlitzer Opus 350|350]]
|
|
| Portsmouth
| Ohio
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 355|355]]
|
| [[Wurlitzer Opus 355|Rivera Theatre]]
| Knoxville
| Tennessee
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 357|357]]
|
| [[Wurlitzer Opus 357|Gem Theatre]]
| Blytheville
| Arkansas
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 364|364]]
|
| [[Wurlitzer Opus 364|Olympic Theatre]]
| Wichita Fls
| Texas
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 365|365]]
|
| [[Wurlitzer Opus 365|North Park Theatre]]
| Buffalo
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 373|373]]
|
| [[Wurlitzer Opus 373|Colonial Theatre]]
| Albany
| New York
| U.S.A.
| 160 X
|
|-
| [[Wurlitzer Opus 376|376]]
|
| [[Wurlitzer Opus 376|Parthenon Theatre]]
| Brooklyn
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 377|377]]
|
|
| Corsicana
| Texas
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 386|386]]
|
| [[Wurlitzer Opus 386|Papineau Theatre]]
| Montreal
| Quebec
| Canada
| 160SP
|
|-
| [[Wurlitzer Opus 394|394]]
|
| [[Wurlitzer Opus 394|Warwick Theatre]]
| Kansas City
| Missouri
| U.S.A.
| 160SP
|
|-
| [[Wurlitzer Opus 395|395]]
|
| [[Wurlitzer Opus 395|Capitol Theatre]]
| Oklahoma Cty
| Oklahoma
| U.S.A.
| 160SP
|
|-
| [[Wurlitzer Opus 400|400]]
|
|
| Vincennes
| Indiana
| U.S.A.
| 160SP
|
|-
| [[Wurlitzer Opus 409|409]]
|
| [[Wurlitzer Opus 409|Majestic Theatre]]
| Springfield
| Oregon
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 417|417]]
|
| [[Wurlitzer Opus 417|Arcade Theatre]]
| Asbury Park
| New Jersey
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 418|418]]
|
| [[Wurlitzer Opus 418|Florence Theatre(Sunsing)]]
| New York
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 422|422]]
|
|
| New York
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 429|429]]
|
| [[Wurlitzer Opus 429|Chimes Theatre]]
| Oakland
| California
| U.S.A.
| 160SP
|
|-
| [[Wurlitzer Opus 431|431]]
|
| [[Wurlitzer Opus 431|Allen Theatre]]
| Akron
| Ohio
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 439|439]]
|
| [[Wurlitzer Opus 439|Glenwood Theatre]]
| Brooklyn
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 440|440]]
|
| [[Wurlitzer Opus 440|Star Theatre]]
| Weiser
| Idaho
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 444|444]]
|
| [[Wurlitzer Opus 444|National Theatre]]
| Brooklyn
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 450|450]]
|
| [[Wurlitzer Opus 450|Midway Theatre]]
| Montreal
| Quebec
| Canada
| 160
|
|-
| [[Wurlitzer Opus 454|454]]
|
| [[Wurlitzer Opus 454|State Theatre]]
| Middletown
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 457|457]]
|
| [[Wurlitzer Opus 457|Plaza Theatre (Churchill)]]
| Brussels
|
| Belgium
| 160
|
|-
| [[Wurlitzer Opus 459|459]]
|
| [[Wurlitzer Opus 459|Grande Theatre]]
| Detroit
| Michigan
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 462|462]]
|
| [[Wurlitzer Opus 462|Store]]
| Kansas City
| Missouri
| U.S.A.
| 160C
|
|-
| [[Wurlitzer Opus 465|465]]
|
| [[Wurlitzer Opus 465|Millers Capitol Theatre]]
| Brooklyn
| New York
| U.S.A.
| 160 X
|
|-
| [[Wurlitzer Opus 467|467]]
|
| [[Wurlitzer Opus 467|Rivola Theatre]]
| Detroit
| Michigan
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 471|471]]
|
| [[Wurlitzer Opus 471|Masonic Bldg]]
| Hammond
| Indiana
| U.S.A.
| 160C
|
|-
| [[Wurlitzer Opus 472|472]]
|
| [[Wurlitzer Opus 472|Kingsbridge Theatre]]
| Bronx
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 477|477]]
|
| [[Wurlitzer Opus 477|State Theatre]]
| Brooklyn
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 479|479]]
|
| [[Wurlitzer Opus 479|Ironbound Theatre]]
| Newark
| New Jersey
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 484|484]]
|
| [[Wurlitzer Opus 484|Strand Theatre]]
| Yonkers
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 485|485]]
|
| [[Wurlitzer Opus 485|Benson Theatre]]
| Brooklyn
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 488|488]]
|
| [[Wurlitzer Opus 488|Community Playhouse]]
| Meriden
| Connecticut
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 491|491]]
|
| [[Wurlitzer Opus 491|Plaza Theatre]]
| Charleston
| West Virginia
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 492|492]]
|
| [[Wurlitzer Opus 492|Benenson Theatre]]
| New York
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 507|507]]
|
| [[Wurlitzer Opus 507|Shkolnich Theatre]]
| Brooklyn
| New York
| U.S.A.
| 160 X
|
|-
| [[Wurlitzer Opus 508|508]]
|
| [[Wurlitzer Opus 508|Strand Theatre]]
| Middletown
| Ohio
| U.S.A.
| 160 X
|
|-
| [[Wurlitzer Opus 509|509]]
|
| [[Wurlitzer Opus 509|Avondale Theatre]]
| No Tonawanda
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 521|521]]
|
| [[Wurlitzer Opus 521|Somerset Theatre]]
| Somerville
| New Jersey
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 559|559]]
|
| [[Wurlitzer Opus 559|Teutonia Theatre]]
| Milwaukee
| Wisconsin
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 565|565]]
|
| [[Wurlitzer Opus 565|Leclaire Theatre(Illini)]]
| Moline
| Illinois
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 567|567]]
|
| [[Wurlitzer Opus 567|Freeman Theatre]]
| Bronx
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 576|576]]
|
| [[Wurlitzer Opus 576|Ogden Am Co Theatre]]
| Bronx
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 583|583]]
|
| [[Wurlitzer Opus 583|Lyric Theatre]]
| Huntington
| West Virginia
| U.S.A.
| 160
| [[Wurlitzer Wiring Schedule 539|539]]
|-
| [[Wurlitzer Opus 589|589]]
|
| [[Wurlitzer Opus 589|Dorchester Theatre]]
| Dorchester
| Massachusetts
| U.S.A.
| 160SP
|
|-
| [[Wurlitzer Opus 622|622]]
|
| [[Wurlitzer Opus 622|Statler Hotel Dine Rm]]
| Buffalo
| New York
| U.S.A.
| 1603M
| [[Wurlitzer Wiring Schedule 618|618]]
|-
| [[Wurlitzer Opus 624|624]]
|
| [[Wurlitzer Opus 624|Statler Hotel Ball Rm]]
| Buffalo
| New York
| U.S.A.
| 1603M
|
|-
| [[Wurlitzer Opus 652|652]]
|
| [[Wurlitzer Opus 652|Capitol Theatre]]
| Babylon
| New York
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 659|659]]
|
| [[Wurlitzer Opus 659|Colonial Theatre]]
| Bluefield
| West Virginia
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 667|667]]
|
| [[Wurlitzer Opus 667|Middleburg]]
| Logan
| West Virginia
| U.S.A.
| 160 X
|
|-
| [[Wurlitzer Opus 674|674]]
|
| [[Wurlitzer Opus 674|Arcade Theatre]]
| Jacksonville
| Florida
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 703|703]]
|
| [[Wurlitzer Opus 703|Sorg Theatre]]
| Middletown
| Ohio
| U.S.A.
| 160 X
|
|-
| [[Wurlitzer Opus 709|709]]
|
| [[Wurlitzer Opus 709|Whittle Music Co]]
| Wichita Fls
| Texas
| U.S.A.
| 160 X
|
|-
| [[Wurlitzer Opus 714|714]]
|
| [[Wurlitzer Opus 714|Tuchinski Theatre]]
| Amsterdam
|
| Holland
| 160
|
|-
| [[Wurlitzer Opus 753|753]]
|
| [[Wurlitzer Opus 753|Strand Theatre]]
| Tampa
| Florida
| U.S.A.
| 160
|
|-
| [[Wurlitzer Opus 903|903]]
|
| [[Wurlitzer Opus 903|New Theatre]]
| Maspeth
| New York
| U.S.A.
| 160
| [[Wurlitzer Wiring Schedule 570|570]]
|-
| [[Wurlitzer Opus 1078|1078]]
|
| [[Wurlitzer Opus 1078|Plaza Theatre]]
| San Antonio
| Texas
| U.S.A.
| 160CC
|
|-
| [[Wurlitzer Opus 1382|1382]]
|
| [[Wurlitzer Opus 1382|Interboro Theatre]]
| New York
| New York
| U.S.A.
| 160
| [[Wurlitzer Wiring Schedule 570|570]]
|-
| [[Wurlitzer Opus 1715|1715]]
|
| [[Wurlitzer Opus 1715|Canarsie Ave L Theatre]]
| Canarisie
| New York
| U.S.A.
| 160
| [[Wurlitzer Wiring Schedule 570|570]]
|-
| [[Wurlitzer Opus 1748|1748]]
|
| [[Wurlitzer Opus 1748|Cozy Theatre]]
| Palmeston
|
| New Zealand
| 160SP
|
|-
| [[Wurlitzer Opus 1811|1811]]
|
| [[Wurlitzer Opus 1811|New Theatre]]
| Bronx
| New York
| U.S.A.
| 160
| [[Wurlitzer Wiring Schedule 570|570]]
|}

Wurlitzer Style 150

2025-07-21T20:26:15Z

GabrielPeressini:

{| class="infobox" style="width: 320px; float: right; border: 1px solid #aaa; background-color: #f9f9f9; font-size: 90%;"
|+ style="font-size: 110%; font-weight: bold; background-color: #ccc; text-align: center;" | Wurlitzer Style 150
|-
! Console Type
| {{{console_type|Curved Console}}}
|-
! Bolsters
| {{{bolsters|1}}}
|-
! Manuals
| {{{manuals|2}}}
|-
! Ranks
| {{{ranks|5}}}
|-
! Tuned Percussions
| {{{percussions|3}}}
|-
! Traps
| {{{traps|19}}}

|-
! colspan="2" style="background-color:#ddd;" | Rank Information
|-
| colspan="2" |
{| class="wikitable" style="width:100%; font-size:90%; text-align: center;"
! Rank Name !! Lowest Pitch !! Notes
|-
| [[Trumpet_(Rank)|Trumpet]] || 8' || 61 Pipes
|-
| [[Tibia Clausa_(Rank)|Tibia Clausa]] || 8' || 85 Pipes
|-
| [[Salicional_(Rank)|Salicional]] || 8' || 73 Pipes
|-
| [[Flute_(Rank)|Flute]] || 16' || 97 Pipes
|-
| [[Vox Humana_(Rank)|Vox Humana]] || 8' || 61 Pipes
|-
| [[Cathedral Chimes|Cathedral Chimes]] || || 18 Notes
|-
| [[Xylophone|Xylophone]] || || 37 Notes
|-
| [[Glockenspiel|Glockenspiel]] || || 30 Notes
|}
|-
! colspan="2" | <hr />
|-
! Toe Pistons
| {{{Toe Pistons| Sleigh Bells Horse Hoofs Surf Bird Auto Horn Fire Gong Fire Gong (re-it) Steamboat Whistle Siren Tom Tom }}}
|-
! colspan="2" | <hr />
|-
! Push Button
| {{{PushButtons| Door Bell }}}
|}

== Layout – Manuals & Touches ==
{| class="wikitable" style="vertical-align:bottom;"
|- style="font-style:italic; font-weight:bold; text-align:center; vertical-align:middle;"
! Pedal
! Accompaniment
! Accompaniment Second Touch
! Solo
! Solo Second Touch
! Tremulants
|- style="text-align:center; vertical-align:middle;"
| style="background-color:#F9F9F9; color:#202122;" | 1st & 2nd Touch Traps Switch
| colspan="2" style="background-color:#F9F9F9; color:#202122;" | 3 Adjustable Combination Pistons (Accomp & Pedal)
| colspan="2" style="background-color:#F9F9F9; color:#202122;" | 3 Adjustable Combination Pistons (Solo & Pedal)
| style="vertical-align:bottom; text-align:left;" |
|- style="background-color:#F9F9F9; color:#202122;"
| 16' Bourdon
| 16' Contra Viol (TC)
| style="background-color:#F00;" | 8' Trumpet
| 16' Tibia Clausa (TC)
| style="background-color:#F00;" | 16' Trumpet (TC)
| General
|- style="background-color:#F9F9F9; color:#202122;"
| style="background-color:#F00;" | 8' Trumpet
| 16' Bourdon
| Chimes
| 16' Contra Viol (TC)
| 8' Tibia Clausa
| Vox Humana
|-
| style="background-color:#F9F9F9; color:#202122;" | 8' Tibia Clausa
| style="background-color:#F00; color:#202122;" | 16' Vox Humana (TC)
| style="background-color:#F9F9F9; color:#202122;" | Triangle
| style="background-color:#F9F9F9; color:#202122;" | 16' Bourdon
|
|
|-
| style="background-color:#F9F9F9; color:#202122;" | 8' Cello
| style="background-color:#F00; color:#202122;" | 8' Trumpet
|
| style="background-color:#F00; color:#202122;" | 8' Trumpet
|
|
|-
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
| style="background-color:#F9F9F9; color:#202122;" | 8' Tibia Clausa
|
| style="background-color:#F9F9F9; color:#202122;" | 8' Tibia Clausa
|
|
|-
| style="background-color:#F9F9F9; color:#202122;" | Bass Drum
| style="background-color:#F9F9F9; color:#202122;" | 8' Salicional
|
| style="background-color:#F9F9F9; color:#202122;" | 8' Salicional
|
|
|-
| style="background-color:#F9F9F9; color:#202122;" | Kettle Drum
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
|
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
|
|
|-
| style="background-color:#F9F9F9; color:#202122;" | Crash Cymbal
| style="background-color:#F00; color:#202122;" | 8' Vox Humana
|
| style="background-color:#F00; color:#202122;" | 8' Vox Humana
|
|
|-
| style="background-color:#F9F9F9; color:#202122;" | Cymbal
| style="background-color:#F9F9F9; color:#202122;" | 4' Piccolo
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Piccolo
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Salicet
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Salicet
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Flute
|
| style="background-color:#F9F9F9; color:#202122;" | 4' Flute
|
|
|-
|
| style="background-color:#F00; color:#202122;" | 4' Vox Humana
|
| style="background-color:#F9F9F9; color:#202122;" | 2 2⁄3' Twelfth (Tibia)
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Snare Drum
|
| style="background-color:#F9F9F9; color:#202122;" | 2 2⁄3' Twelfth
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Tambourine
|
| style="background-color:#F9F9F9; color:#202122;" | 2' Piccolo (Tibia)
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Castanets
|
| style="background-color:#F9F9F9; color:#202122;" | 2' Piccolo
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Chinese Block
|
| style="background-color:#F9F9F9; color:#202122;" | Cathedral Chimes
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Tom Tom
|
| style="background-color:#F9F9F9; color:#202122;" | Xylophone
|
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Sleigh Bells
|
| style="background-color:#F9F9F9; color:#202122;" | Glockenspiel
|
|
|}

== List of Known Installations ==

{| class="wikitable sortable"
! Opus
! Year Installed
! Location
! City
! State
! Country
! Style
! Wiring Schedule
|-
| [[Wurlitzer Opus 1784|1784]]
|
| [[Wurlitzer Opus 1784|Salem Theatre]]
| Dayton
| Ohio
| U.S.A.
| 150
| [[Wurlitzer Wiring Schedule 871|871]]
|-
| [[Wurlitzer Opus 1787|1787]]
|
| [[Wurlitzer Opus 1787|Mayflower Theatre]]
| Troy
| Ohio
| U.S.A.
| 150 SP
| [[Wurlitzer Wiring Schedule 873|873]]
|-
| [[Wurlitzer Opus 1797|1797]]
|
| [[Wurlitzer Opus 1797|Capitol Theatre]]
| Bloomsburg
| Pennsylvania
| U.S.A.
| 150 SP
| [[Wurlitzer Wiring Schedule 882|882]]
|-
| [[Wurlitzer Opus 1804|1804]]
|
| [[Wurlitzer Opus 1804|Maine Theatre]]
| Portland
| Maine
| U.S.A.
| 150 SP
| [[Wurlitzer Wiring Schedule 878|878]]
|-
| [[Wurlitzer Opus 1872|1872]]
|
| [[Wurlitzer Opus 1872|Wash Ave]]
| Racine
| Wisconsin
| U.S.A.
| 150 SP
| [[Wurlitzer Wiring Schedule 921|921]]
|-
| [[Wurlitzer Opus 1880|1880]]
|
| [[Wurlitzer Opus 1880|Store]]
| Detroit
| Michigan
| U.S.A.
| 150
| [[Wurlitzer Wiring Schedule 889|889]]
|-
| [[Wurlitzer Opus 1892|1892]]
|
| [[Wurlitzer Opus 1892|Plaza Theatre]]
| Maidenhead
| England
| U.K.
| 150 SP
| [[Wurlitzer Wiring Schedule 942|942]]
|-
| [[Wurlitzer Opus 1909|1909]]
|
| [[Wurlitzer Opus 1909|Royal Theatre]]
| Providence
| Rhode Island
| U.S.A.
| 150
| [[Wurlitzer Wiring Schedule 889|889]]
|-
| [[Wurlitzer Opus 1917|1917]]
|
| [[Wurlitzer Opus 1917|Rivoli Theatre]]
| Oskaloosa
| Iowa
| U.S.A.
| 150
| [[Wurlitzer Wiring Schedule 889|889]]
|-
| [[Wurlitzer Opus 1934|1934]]
|
| [[Wurlitzer Opus 1934|Raymond Theatre]]
| Raymond
| Washington
| U.S.A.
| 150 SP
| [[Wurlitzer Wiring Schedule 964|964]]
|-
| [[Wurlitzer Opus 1935|1935]]
|
| [[Wurlitzer Opus 1935|York Theatre]]
| York
| Nebraska
| U.S.A.
| 150
| [[Wurlitzer Wiring Schedule 889|889]]
|-
| [[Wurlitzer Opus 1938|1938]]
|
| [[Wurlitzer Opus 1938|Auditorium(Fire Co 1)]]
| Kennet Sq
| Pennsylvania
| U.S.A.
| 150 SP
| [[Wurlitzer Wiring Schedule 965|965]]
|-
| [[Wurlitzer Opus 1952|1952]]
|
| [[Wurlitzer Opus 1952|Embassy Theatre]]
| Dobbs Ferry
| New York
| U.S.A.
| 150
| [[Wurlitzer Wiring Schedule 889|889]]
|-
| [[Wurlitzer Opus 1958|1958]]
|
| [[Wurlitzer Opus 1958|Tivoli Theatre]]
| Downers Gr
| Illinois
| U.S.A.
| 150
| [[Wurlitzer Wiring Schedule 889|889]]
|-
| [[Wurlitzer Opus 1959|1959]]
|
| [[Wurlitzer Opus 1959|Circle Theatre]]
| Nevada
| Iowa
| U.S.A.
| 150
| [[Wurlitzer Wiring Schedule 977|977]]
|-
| [[Wurlitzer Opus 1969|1969]]
|
| [[Wurlitzer Opus 1969|Webb Theatre]]
| Gastonia
| North Carolina
| U.S.A.
| 150
| [[Wurlitzer Wiring Schedule 889|889]]
|-
| [[Wurlitzer Opus 1974|1974]]
|
| [[Wurlitzer Opus 1974|Eagles Hall]]
| St Bernard
| Ohio
| U.S.A.
| 150
| [[Wurlitzer Wiring Schedule 889|889]]
|-
| [[Wurlitzer Opus 1981|1981]]
|
| [[Wurlitzer Opus 1981|Peoples Theatre]]
| Dayton
| Ohio
| U.S.A.
| 150
| [[Wurlitzer Wiring Schedule 889|889]]
|-
| [[Wurlitzer Opus 2004|2004]]
|
| [[Wurlitzer Opus 2004|Hollywood Theatre]]
| Cincinnati
| Ohio
| U.S.A.
| 150
| [[Wurlitzer Wiring Schedule 889|889]]
|-
| [[Wurlitzer Opus 2008|2008]]
|
| [[Wurlitzer Opus 2008|Store]]
| Kansas City
| Missouri
| U.S.A.
| 150
| [[Wurlitzer Wiring Schedule 889|889]]
|-
| [[Wurlitzer Opus 2017|2017]]
|
| [[Wurlitzer Opus 2017|Liberty Theatre(Riviera)]]
| Tacoma
| Washington
| U.S.A.
| 150
| [[Wurlitzer Wiring Schedule 889|889]]
|-
| [[Wurlitzer Opus 2027|2027]]
|
| [[Wurlitzer Opus 2027|Community Theatre]]
| N Attleboro
| Massachusetts
| U.S.A.
| 150
| [[Wurlitzer Wiring Schedule 889|889]]
|-
| [[Wurlitzer Opus 2028|2028]]
|
| [[Wurlitzer Opus 2028|New Sun Theatre]]
| York
| Nebraska
| U.S.A.
| 150
| [[Wurlitzer Wiring Schedule 889|889]]
|-
| [[Wurlitzer Opus 2063|2063]]
|
| [[Wurlitzer Opus 2063|Tolmer Square Theatre]]
| London
| England
| U.K.
| 150 SP
| [[Wurlitzer Wiring Schedule 1027|1027]]
|-
| [[Wurlitzer Opus 2078|2078]]
|
| [[Wurlitzer Opus 2078|Colonial Theatre]]
| Natick
| Massachusetts
| U.S.A.
| 150
| [[Wurlitzer Wiring Schedule 889|889]]
|-
| [[Wurlitzer Opus 2095|2095]]
|
| [[Wurlitzer Opus 2095|Lawler Theatre]]
| Greenfield
| Massachusetts
| U.S.A.
| 150
| [[Wurlitzer Wiring Schedule 889|889]]
|-
| [[Wurlitzer Opus 2202|2202]]
|
| [[Wurlitzer Opus 2202|Br Rex Theatre]]
| Coventry
| England
| U.K.
| 150 3C
| [[Wurlitzer Wiring Schedule 1161|1161]]
|-
| [[Wurlitzer Opus 2226|2226]]
|
| [[Wurlitzer Opus 2226|Br Savoy Theatre]]
| Radford C
| England
| U.K.
| 150
| [[Wurlitzer Wiring Schedule 889|889]]
|}

Wurlitzer Style 135

2025-07-21T20:24:22Z

GabrielPeressini:

{| class="infobox" style="width: 320px; float: right; border: 1px solid #aaa; background-color: #f9f9f9; font-size: 90%;"
|+ style="font-size: 110%; font-weight: bold; background-color: #ccc; text-align: center;" | Wurlitzer Style 135
|-
! Console Type
| {{{console_type|Piano Console}}}
|-
! Bolsters
| {{{bolsters|1}}}
|-
! Manuals
| {{{manuals|2}}}
|-
! Ranks
| {{{ranks|4}}}
|-
! Tuned Percussions
| {{{percussions|4}}}
|-
! Traps
| {{{traps|17}}}

|-
! colspan="2" style="background-color:#ddd;" | Rank Information
|-
| colspan="2" |
{| class="wikitable" style="width:100%; font-size:90%; text-align: center;"
! Rank Name !! Lowest Pitch !! Notes
|-
| [[Trumpet_(Rank)|Trumpet]] || 8' || 61 Pipes
|-
| [[Salicional_(Rank)|Salicional]] || 8' || 73 Pipes
|-
| [[Flute_(Rank)|Flute]] || 16' || 85 Pipes
|-
| [[Vox Humana_(Rank)|Vox Humana]] || 8' || 61 Pipes
|-
| [[Piano|Piano]] || || 88 Notes
|-
| [[Cathedral Chimes|Cathedral Chimes]] || || 18 Notes
|-
| [[Xylophone|Xylophone]] || || 30 Notes
|-
| [[Glockenspiel|Glockenspiel]] || || 30 Notes
|}
|-
! colspan="2" | <hr />
|-
! Toe Pistons
| {{{Toe Pistons| Sleigh Bells Horse Hoofs Bird Auto Horn Fire Gong (re-it) Siren Triangle Surf Train Fire Gong Steamboat Whistle Tom Tom}}}
|-
! colspan="2" | <hr />
|-
! Push Button
| {{{PushButtons| Door Bell }}}
|}

==Layout – Manuals & Touches==

{| class="wikitable" style="vertical-align:bottom;"
|- style="font-style:italic; font-weight:bold; text-align:center; vertical-align:middle;"
! Pedal
! Accompaniment
! Solo
! Tremulants
|- style="background-color:#F9F9F9; color:#202122;"
| 16' Bourdon
| 8' Open Diapason
| 16' Bourdon
| General
|- style="background-color:#F9F9F9; color:#202122;"
| 8' Cello
| 8' Salicional
| 8' Trumpet
| Vox Humana
|-
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
| style="background-color:#F9F9F9; color:#202122;" | 8' Salicional
|
|-
| style="background-color:#F9F9F9; color:#202122;" | Bass Drum
| style="background-color:#F9F9F9; color:#202122;" | 4' Salicet
| style="background-color:#F00; color:#202122;" | 8' Vox Humana
|
|-
| style="background-color:#F9F9F9; color:#202122;" | Cymbal
| style="background-color:#F9F9F9; color:#202122;" | 4' Flute
| style="background-color:#F9F9F9; color:#202122;" | 8' Flute
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Piano (With mandolin Attachment)
| style="background-color:#F9F9F9; color:#202122;" | 4' Salicet
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Mandolin
| style="background-color:#F9F9F9; color:#202122;" | 4' Flute
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Snare Drum
| style="background-color:#F9F9F9; color:#202122;" | Cathedral Chimes
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Tambourine
| style="background-color:#F9F9F9; color:#202122;" | Xylophone
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Castanets
| style="background-color:#F9F9F9; color:#202122;" | Glockenspiel
|
|-
|
| style="background-color:#F9F9F9; color:#202122;" | Chinese Block
|
|
|}

== List of Known Installations ==

{| class="wikitable sortable"
! Opus
! Year Installed
! Location
! City
! State
! Country
! Style
! Wiring Schedule
|-
| [[Wurlitzer Opus 172|172]]
|
| [[Wurlitzer Opus 172|Store]]
| New York
| New York
| U.S.A.
| 135 PL
|
|-
| [[Wurlitzer Opus 179|179]]
|
|
| Passaic
| New Jersey
| U.S.A.
| 135 PL
|
|-
| [[Wurlitzer Opus 182|182]]
|
|
| New York
| New York
| U.S.A.
| 135
|
|-
| [[Wurlitzer Opus 183|183]]
|
|
| Toledo
| Ohio
| U.S.A.
| 135
|
|-
| [[Wurlitzer Opus 188|188]]
|
| [[Wurlitzer Opus 188|Grand Theatre]]
| Douglas
| Arizona
| U.S.A.
| 135 PL
|
|-
| [[Wurlitzer Opus 189|189]]
|
| [[Wurlitzer Opus 189|Ellanay Theatre]]
| El Paso
| Texas
| U.S.A.
| 135 SP
|
|-
| [[Wurlitzer Opus 190|190]]
|
|
| Patchogue
| New York
| U.S.A.
| 135 PL
|
|-
| [[Wurlitzer Opus 192|192]]
|
|
| Logan
| West Virginia
| U.S.A.
| 135
|
|-
| [[Wurlitzer Opus 194|194]]
|
|
| Bluefield
| West Virginia
| U.S.A.
| 135
|
|-
| [[Wurlitzer Opus 198|198]]
|
|
| Decatur
| Illinois
| U.S.A.
| 135
|
|-
| [[Wurlitzer Opus 199|199]]
|
|
| Hackensack
| New Jersey
| U.S.A.
| 135 PL
|
|-
| [[Wurlitzer Opus 200|200]]
|
| [[Wurlitzer Opus 200|New Harold Theatre]]
| Pontiac
| Michigan
| U.S.A.
| 135 SP
|
|-
| [[Wurlitzer Opus 202|202]]
|
| [[Wurlitzer Opus 202|Majestic Theatre]]
| Melbourne
| Victoria
| Australia
| 135
|
|-
| [[Wurlitzer Opus 203|203]]
|
| [[Wurlitzer Opus 203|Guthrie]]
| Salem
| Oregon
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 207|207]]
|
|
| Philadelphia
| Pennsylvania
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 209|209]]
|
| [[Wurlitzer Opus 209|Store]]
| San Francisco
| California
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 211|211]]
|
|
| New Bedford
| Massachusetts
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 212|212]]
|
| [[Wurlitzer Opus 212|Theatre]]
| New York
| New York
| U.S.A.
| 135 PL
|
|-
| [[Wurlitzer Opus 213|213]]
|
| [[Wurlitzer Opus 213|Gem Theatre]]
| Chicago
| Illinois
| U.S.A.
| 135 C
|
|-
| [[Wurlitzer Opus 215|215]]
|
|
| Jenkintown
| Pennsylvania
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 219|219]]
|
|
| Pittsburgh
| Pennsylvania
| U.S.A.
| 135 PL
|
|-
| [[Wurlitzer Opus 220|220]]
|
| [[Wurlitzer Opus 220|Store]]
| San Francisco
| California
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 221|221]]
|
|
| Roanoke
| Virginia
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 222|222]]
|
| [[Wurlitzer Opus 222|Tivoli Theatre]]
| Ft Worth
| Texas
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 223|223]]
|
|
| Belle Font
| South Dakota
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 224|224]]
|
| [[Wurlitzer Opus 224|Hartwig Theatre]]
| Dillon
| Montana
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 227|227]]
|
|
| Dallas
| Texas
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 228|228]]
|
|
| Denver
| Colorado
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 230|230]]
|
|
| Sacramento
| California
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 231|231]]
|
| [[Wurlitzer Opus 231|Portola Theatre]]
| San Francisco
| California
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 233|233]]
|
| [[Wurlitzer Opus 233|Harris Theatreea]]
| Wilmington
| Delaware
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 235|235]]
|
|
| Long Island
| New York
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 236|236]]
|
| [[Wurlitzer Opus 236|Lyric Theatre]]
| Mt Vernon
| New York
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 238|238]]
|
| [[Wurlitzer Opus 238|Bluebird Theatre]]
| Petersburg
| Virginia
| U.S.A.
| 135 C
|
|-
| [[Wurlitzer Opus 244|244]]
|
| [[Wurlitzer Opus 244|U S Theatre]]
| Vancouver
| Washington
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 245|245]]
|
| [[Wurlitzer Opus 245|Orpheum Theatre]]
| Cleveland
| Ohio
| U.S.A.
| 135 C
|
|-
| [[Wurlitzer Opus 246|246]]
|
| [[Wurlitzer Opus 246|Shaw Hayden Theatre]]
| Cleveland
| Ohio
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 248|248]]
|
| [[Wurlitzer Opus 248|Majestic Theatre]]
| Chico
| California
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 249|249]]
|
| [[Wurlitzer Opus 249|Bijou Theatre]]
| Jamestown
| New York
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 251|251]]
|
| [[Wurlitzer Opus 251|Olympia Theatre]]
| Portsmouth
| New Hampshire
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 252|252]]
|
| [[Wurlitzer Opus 252|Strand Theatre]]
| Vallejo
| California
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 253|253]]
|
| [[Wurlitzer Opus 253|Perunke (Sunset Theatre)]]
| Tacoma
| Washington
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 256|256]]
|
| [[Wurlitzer Opus 256|North Shore Theatre]]
| Gloucester
| Massachusetts
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 257|257]]
|
| [[Wurlitzer Opus 257|Store]]
| New York
| New York
| U.S.A.
| 135 C
|
|-
| [[Wurlitzer Opus 259|259]]
|
| [[Wurlitzer Opus 259|Elite Theatre]]
| Philadelphia
| Pennsylvania
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 260|260]]
|
| [[Wurlitzer Opus 260|Elmo Theatre]]
| San Luis Obispo
| California
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 262|262]]
|
| [[Wurlitzer Opus 262|Rialto Theatre]]
| Akron
| Ohio
| U.S.A.
| 135 C
|
|-
| [[Wurlitzer Opus 264|264]]
|
| [[Wurlitzer Opus 264|Hippodrome Theatre]]
| San Francisco
| California
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 266|266]]
|
|
| Chicago
| Illinois
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 267|267]]
|
| [[Wurlitzer Opus 267|Hanlon Theatre(To Op 1627)]]
| Vallejo
| California
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 268|268]]
|
| [[Wurlitzer Opus 268|Victorian Theatre]]
| Los Angeles
| California
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 271|271]]
|
| [[Wurlitzer Opus 271|Laughlin Theatre]]
| Long Beach
| California
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 272|272]]
|
| [[Wurlitzer Opus 272|Casino Theatre]]
| Spokane
| Washington
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 273|273]]
|
| [[Wurlitzer Opus 273|Store]]
| Cincinnati
| Ohio
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 275|275]]
|
| [[Wurlitzer Opus 275|Store]]
| San Francisco
| California
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 276|276]]
|
| [[Wurlitzer Opus 276|Deitz Theatre]]
| Akron
| Ohio
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 277|277]]
|
| [[Wurlitzer Opus 277|Hippodrome Theatre]]
| Portland
| Oregon
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 278|278]]
|
| [[Wurlitzer Opus 278|Store]]
| Philadelphia
| Pennsylvania
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 280|280]]
|
| [[Wurlitzer Opus 280|Hippodrome Theatre]]
| Seattle
| Washington
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 282|282]]
|
| [[Wurlitzer Opus 282|Plaza Theatre]]
| New Haven
| Connecticut
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 283|283]]
|
| [[Wurlitzer Opus 283|Botzman Theatre]]
| Akron
| Ohio
| U.S.A.
| 135 C
|
|-
| [[Wurlitzer Opus 285|285]]
|
| [[Wurlitzer Opus 285|Plaza Theatre]]
| Superior
| Wisconsin
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 286|286]]
|
| [[Wurlitzer Opus 286|Hippodrome Theatre]]
| Eureka
| California
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 287|287]]
|
| [[Wurlitzer Opus 287|Plaza Theatre]]
| New York
| New York
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 288|288]]
|
| [[Wurlitzer Opus 288|Store]]
| Cincinnati
| Ohio
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 289|289]]
|
| [[Wurlitzer Opus 289|Hippodrome Theatre]]
| Sacramento
| California
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 290|290]]
|
| [[Wurlitzer Opus 290|Empire Theatre]]
| New Bedford
| Massachusetts
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 291|291]]
|
|
| Sacramento
| California
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 295|295]]
|
|
| Nelsonville
| Ohio
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 296|296]]
|
| [[Wurlitzer Opus 296|Ackerman & Harris Theatre]]
| Stockton
| California
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 297|297]]
|
| [[Wurlitzer Opus 297|Hippodrome Theatre]]
| San Jose
| California
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 300|300]]
|
| [[Wurlitzer Opus 300|Orpheum Theatre]]
| San Francisco
| California
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 303|303]]
|
| [[Wurlitzer Opus 303|Palace Theatre]]
| New York
| New York
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 304|304]]
|
| [[Wurlitzer Opus 304|Symphony Theatre]]
| Los Angeles
| California
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 307|307]]
|
|
| Redondo
| California
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 310|310]]
|
|
| Sherman
| Texas
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 313|313]]
|
| [[Wurlitzer Opus 313|Markwell Theatre]]
| Long Beach
| California
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 314|314]]
|
| [[Wurlitzer Opus 314|Grand Theatre]]
| Los Angeles
| California
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 315|315]]
|
| [[Wurlitzer Opus 315|Barton Opera House (Hippodrom]]
| Fresno
| California
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 316|316]]
|
|
| San Francisco
| California
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 317|317]]
|
| [[Wurlitzer Opus 317|Victory Theatre]]
| Detroit
| Michigan
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 319|319]]
|
| [[Wurlitzer Opus 319|Tokay Theatre]]
| Raymond
| Washington
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 320|320]]
|
| [[Wurlitzer Opus 320|Manheim Theatre]]
| Philadelphia
| Pennsylvania
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 322|322]]
|
| [[Wurlitzer Opus 322|Store]]
| Seattle
| Washington
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 323|323]]
|
| [[Wurlitzer Opus 323|Alhambra Theatre]]
| Columbus
| Ohio
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 324|324]]
|
|
|
| New South Wales
| Australia
| 135 B
|
|-
| [[Wurlitzer Opus 325|325]]
|
| [[Wurlitzer Opus 325|Alhambra Theatre]]
| Toledo
| Ohio
| U.S.A.
| 135
|
|-
| [[Wurlitzer Opus 326|326]]
|
| [[Wurlitzer Opus 326|Opera House]]
| Bangor
| Maine
| U.S.A.
| 135
|
|-
| [[Wurlitzer Opus 327|327]]
|
|
| New York
| New York
| U.S.A.
| 135
|
|-
| [[Wurlitzer Opus 330|330]]
|
| [[Wurlitzer Opus 330|Store]]
| St Louis
| Missouri
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 333|333]]
|
| [[Wurlitzer Opus 333|Art Theatre]]
| Kansas City
| Missouri
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 334|334]]
|
|
| Trenton
| New Jersey
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 335|335]]
|
| [[Wurlitzer Opus 335|Roosevelt Theatre]]
| New York
| New York
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 338|338]]
|
|
| Boston
| Massachusetts
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 339|339]]
|
|
| San Francisco
| California
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 340|340]]
|
| [[Wurlitzer Opus 340|Store]]
| Schenectady
| New York
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 343|343]]
|
|
| Denver
| Colorado
| U.S.A.
| 135 C
|
|-
| [[Wurlitzer Opus 345|345]]
|
| [[Wurlitzer Opus 345|A & C]]
| Yakima
| Washington
| U.S.A.
| 135 D
|
|-
| [[Wurlitzer Opus 346|346]]
|
|
| Beckley
| West Virginia
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 348|348]]
|
|
| Columbus
| Ohio
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 349|349]]
|
| [[Wurlitzer Opus 349|Page Theatre]]
| Medford
| Oregon
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 351|351]]
|
| [[Wurlitzer Opus 351|Rialto Theatre]]
| Atlanta
| Georgia
| U.S.A.
| 135
|
|-
| [[Wurlitzer Opus 354|354]]
|
| [[Wurlitzer Opus 354|Palace Theatre]]
| Jersey City
| New Jersey
| U.S.A.
| 135
|
|-
| [[Wurlitzer Opus 356|356]]
|
| [[Wurlitzer Opus 356|Store]]
| Chicago
| Illinois
| U.S.A.
| 135
|
|-
| [[Wurlitzer Opus 358|358]]
|
|
| San Francisco
| California
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 361|361]]
|
| [[Wurlitzer Opus 361|Lyceum Theatre]]
| Los Angeles
| California
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 363|363]]
|
| [[Wurlitzer Opus 363|Paramount Theatre]]
| Lewiston
| Idaho
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 366|366]]
|
|
| San Francisco
| California
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 367|367]]
|
| [[Wurlitzer Opus 367|Modern Theatre]]
| Lawrence
| Massachusetts
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 371|371]]
|
| [[Wurlitzer Opus 371|Capitol Theatre]]
| Little Rock
| Arkansas
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 372|372]]
|
| [[Wurlitzer Opus 372|Capitol Theatre]]
| Macon
| Georgia
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 374|374]]
|
| [[Wurlitzer Opus 374|Vanderlip Theatre]]
| Huntington Pk
| California
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 375|375]]
|
| [[Wurlitzer Opus 375|Hollister Theatre]]
| San Francisco
| California
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 381|381]]
|
| [[Wurlitzer Opus 381|Empress Theatre]]
| Columbus
| Ohio
| U.S.A.
| 135 F
|
|-
| [[Wurlitzer Opus 382|382]]
|
|
| Kansas City
| Missouri
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 384|384]]
|
| [[Wurlitzer Opus 384|Anderson & Waggoner]]
| Los Angeles
| California
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 390|390]]
|
| [[Wurlitzer Opus 390|Union Theatre]]
| Bremerton
| Washington
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 391|391]]
|
| [[Wurlitzer Opus 391|Butler Theatre]]
| Philadelphia
| Pennsylvania
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 398|398]]
|
| [[Wurlitzer Opus 398|D L Whittle Co]]
| Dallas
| Texas
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 399|399]]
|
| [[Wurlitzer Opus 399|Park Theatre]]
| Barre
| Vermont
| U.S.A.
| 135 SP
|
|-
| [[Wurlitzer Opus 405|405]]
|
| [[Wurlitzer Opus 405|Rye Playhouse Inc]]
| Rye
| New York
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 406|406]]
|
| [[Wurlitzer Opus 406|Liberty Theatre]]
| Oregon City
| Oregon
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 407|407]]
|
| [[Wurlitzer Opus 407|Empire Theatre]]
| Philadelphia
| Pennsylvania
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 410|410]]
|
| [[Wurlitzer Opus 410|Richmond Theatre]]
| Philadelphia
| Pennsylvania
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 412|412]]
|
| [[Wurlitzer Opus 412|Darris Theatre]]
| Boonton
| New Jersey
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 414|414]]
|
| [[Wurlitzer Opus 414|Park Theatre]]
| Paso Robles
| California
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 423|423]]
|
| [[Wurlitzer Opus 423|Century Theatre]]
| Selma
| California
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 425|425]]
|
| [[Wurlitzer Opus 425|T & D Theatre]]
| Lodi
| California
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 428|428]]
|
| [[Wurlitzer Opus 428|Mayflower Theatre]]
| Florence
| Kansas
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 432|432]]
|
| [[Wurlitzer Opus 432|Store]]
| Pittsburgh
| Pennsylvania
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 436|436]]
|
| [[Wurlitzer Opus 436|Strand Theatre]]
| Springfield
| Illinois
| U.S.A.
| 135 C
|
|-
| [[Wurlitzer Opus 437|437]]
|
| [[Wurlitzer Opus 437|Plaza Theatre]]
| Philadelphia
| Pennsylvania
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 446|446]]
|
| [[Wurlitzer Opus 446|Famous Players Theatre]]
| Arctic
| Rhode Island
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 447|447]]
|
| [[Wurlitzer Opus 447|Knickerbocker Theatre]]
| Cleveland
| Ohio
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 448|448]]
|
| [[Wurlitzer Opus 448|Stadium Theatre]]
| New York
| New York
| U.S.A.
| 135 C
|
|-
| [[Wurlitzer Opus 449|449]]
|
| [[Wurlitzer Opus 449|Coronet Theatre]]
| Audubon
| New Jersey
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 455|455]]
|
| [[Wurlitzer Opus 455|Store]]
| Philadelphia
| Pennsylvania
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 456|456]]
|
| [[Wurlitzer Opus 456|Royal Theatre]]
| Hot Springs
| Arkansas
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 458|458]]
|
| [[Wurlitzer Opus 458|Highway Theatre]]
| Portland
| Oregon
| U.S.A.
| 135
|
|-
| [[Wurlitzer Opus 460|460]]
|
| [[Wurlitzer Opus 460|Lakewood Theatre]]
| Lakewood
| New Jersey
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 466|466]]
|
| [[Wurlitzer Opus 466|Julius Church'S Theatre]]
| Newark
| New Jersey
| U.S.A.
| 135
|
|-
| [[Wurlitzer Opus 468|468]]
|
| [[Wurlitzer Opus 468|Apollo Theatre]]
| Belvedere
| Illinois
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 469|469]]
|
| [[Wurlitzer Opus 469|Peerless Theatre]]
| Wichita
| Kansas
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 470|470]]
|
| [[Wurlitzer Opus 470|Hippodrome Theatre]]
| Corbin
| Kentucky
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 474|474]]
|
| [[Wurlitzer Opus 474|California Theatre]]
| Long Beach
| California
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 476|476]]
|
| [[Wurlitzer Opus 476|Lindley Theatre]]
| Philadelphia
| Pennsylvania
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 478|478]]
|
| [[Wurlitzer Opus 478|Store]]
| New York
| New York
| U.S.A.
| 135
|
|-
| [[Wurlitzer Opus 481|481]]
|
| [[Wurlitzer Opus 481|Ray Theatre]]
| Olympia
| Washington
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 483|483]]
|
| [[Wurlitzer Opus 483|Parkway Theatre]]
| Brooklyn
| New York
| U.S.A.
| 135
|
|-
| [[Wurlitzer Opus 489|489]]
|
| [[Wurlitzer Opus 489|Orpheum Theatre]]
| Marion
| Illinois
| U.S.A.
| 135 C
|
|-
| [[Wurlitzer Opus 495|495]]
|
| [[Wurlitzer Opus 495|Ceramic Theatre]]
| E Liverpool
| Ohio
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 496|496]]
|
| [[Wurlitzer Opus 496|Buckeye Theatre]]
| Brooklyn
| New York
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 497|497]]
|
| [[Wurlitzer Opus 497|Park Theatre]]
| Ashville
| North Carolina
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 498|498]]
|
| [[Wurlitzer Opus 498|Strand Theatre]]
| Rockville Ct
| New York
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 510|510]]
|
| [[Wurlitzer Opus 510|Chain Theatre]]
| Philadelphia
| Pennsylvania
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 516|516]]
|
| [[Wurlitzer Opus 516|Lee Ave Theatre]]
| Brooklyn
| New York
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 519|519]]
|
| [[Wurlitzer Opus 519|Pike Theatre]]
| Philadelphia
| Pennsylvania
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 525|525]]
|
| [[Wurlitzer Opus 525|Montauk Theatre]]
| Passaic
| New Jersey
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 531|531]]
|
| [[Wurlitzer Opus 531|Cozy Theatre]]
| Topeka
| Kansas
| U.S.A.
| 135 C
|
|-
| [[Wurlitzer Opus 535|535]]
|
| [[Wurlitzer Opus 535|Chatham Theatre]]
| Chicago
| Illinois
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 539|539]]
|
| [[Wurlitzer Opus 539|Temple Theatre]]
| Viroqua
| Wisconsin
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 543|543]]
|
| [[Wurlitzer Opus 543|New Regent Theatre]]
| New York
| New York
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 545|545]]
|
| [[Wurlitzer Opus 545|Nickerbocker Theatre]]
| Cleveland
| Ohio
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 546|546]]
|
| [[Wurlitzer Opus 546|Atlantic Theatre]]
| Freehold
| New Jersey
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 555|555]]
|
| [[Wurlitzer Opus 555|Jas Roder Theatre]]
| Chicago
| Illinois
| U.S.A.
| 135 C
|
|-
| [[Wurlitzer Opus 570|570]]
|
| [[Wurlitzer Opus 570|Princess Theatre]]
| Corning
| New York
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 573|573]]
|
| [[Wurlitzer Opus 573|City Theatre]]
| Passaic
| New Jersey
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 577|577]]
|
| [[Wurlitzer Opus 577|Merrimack Sq Theatre]]
| Lowell
| Massachusetts
| U.S.A.
| 135
|
|-
| [[Wurlitzer Opus 586|586]]
|
| [[Wurlitzer Opus 586|Kramer (Gold Theatre)]]
| Newark
| New Jersey
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 590|590]]
|
| [[Wurlitzer Opus 590|Hippodrome Theatre]]
| Herrin
| Illinois
| U.S.A.
| 135 C
|
|-
| [[Wurlitzer Opus 594|594]]
|
| [[Wurlitzer Opus 594|Violet Theatre]]
| Milwaukee
| Wisconsin
| U.S.A.
| 135 C
|
|-
| [[Wurlitzer Opus 599|599]]
|
| [[Wurlitzer Opus 599|Winthrop Theatre]]
| Brooklyn
| New York
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 601|601]]
|
| [[Wurlitzer Opus 601|Benton Am Co]]
| Benton
| Illinois
| U.S.A.
| 135 C
|
|-
| [[Wurlitzer Opus 603|603]]
|
| [[Wurlitzer Opus 603|Evanston Theatre(Gaushin)]]
| Evanston
| Illinois
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 617|617]]
|
| [[Wurlitzer Opus 617|Gate Theatre]]
| Coney Island (Brooklyn)
| New York
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 651|651]]
|
| [[Wurlitzer Opus 651|Bela Rosa Theatre]]
| New York
| New York
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 657|657]]
|
| [[Wurlitzer Opus 657|Knight Cam]]
| Walsenburg
| Colorado
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 668|668]]
|
| [[Wurlitzer Opus 668|New Broadway Theatre]]
| Columbia
| South Carolina
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 671|671]]
|
| [[Wurlitzer Opus 671|Idle Hour Theatre]]
| Long Island
| New York
| U.S.A.
| 135
|
|-
| [[Wurlitzer Opus 677|677]]
|
| [[Wurlitzer Opus 677|Sunshine Theatre]]
| New York
| New York
| U.S.A.
| 135 A
| [[Wurlitzer Wiring Schedule 536|536]]
|-
| [[Wurlitzer Opus 744|744]]
|
| [[Wurlitzer Opus 744|Cameo Theatre]]
| West Haven
| Connecticut
| U.S.A.
| 135 A
|
|-
| [[Wurlitzer Opus 756|756]]
|
| [[Wurlitzer Opus 756|Pheil Theatre]]
| St Petersburg
| Florida
| U.S.A.
| 135
|
|-
| [[Wurlitzer Opus 769|769]]
|
| [[Wurlitzer Opus 769|Rupublic Theatre]]
| Jacksonville
| Florida
| U.S.A.
| 135
|
|-
| [[Wurlitzer Opus 773|773]]
|
| [[Wurlitzer Opus 773|Liberty Theatre]]
| Liberty
| New York
| U.S.A.
| 135
|
|-
| [[Wurlitzer Opus 782|782]]
|
| [[Wurlitzer Opus 782|Casino Theatre]]
| Yuma
| Arizona
| U.S.A.
| 135 B
|
|-
| [[Wurlitzer Opus 805|805]]
|
| [[Wurlitzer Opus 805|Store]]
| New York
| New York
| U.S.A.
| 135 A
| [[Wurlitzer Wiring Schedule 536|536]]
|-
| [[Wurlitzer Opus 806|806]]
|
| [[Wurlitzer Opus 806|New Theatre]]
| W Brighton
| New York
| U.S.A.
| 135 A
| [[Wurlitzer Wiring Schedule 536|536]]
|-
| [[Wurlitzer Opus 809|809]]
|
| [[Wurlitzer Opus 809|Carver Theatre]]
| Winston Sal
| North Carolina
| U.S.A.
| 135 C
| [[Wurlitzer Wiring Schedule 514|514]]
|-
| [[Wurlitzer Opus 844|844]]
|
| [[Wurlitzer Opus 844|Store]]
| Los Angeles
| California
| U.S.A.
| 135 A
| [[Wurlitzer Wiring Schedule 536|536]]
|-
| [[Wurlitzer Opus 849|849]]
|
| [[Wurlitzer Opus 849|Strand Theatre]]
| Orange
| Texas
| U.S.A.
| 135 SP
| [[Wurlitzer Wiring Schedule 555|555]]
|-
| [[Wurlitzer Opus 859|859]]
|
| [[Wurlitzer Opus 859|Grand Theatre]]
| New York
| New York
| U.S.A.
| 135
|
|-
| [[Wurlitzer Opus 880|880]]
|
| [[Wurlitzer Opus 880|Court Theatre]]
| Brooklyn
| New York
| U.S.A.
| 135
|
|-
| [[Wurlitzer Opus 899|899]]
|
| [[Wurlitzer Opus 899|Rialto Theatre]]
| Ridgefield
| New Jersey
| U.S.A.
| 135
|
|-
| [[Wurlitzer Opus 925|925]]
|
| [[Wurlitzer Opus 925|Palace Theatre]]
| Muskogee
| Oklahoma
| U.S.A.
| 135
|
|-
| [[Wurlitzer Opus 946|946]]
|
| [[Wurlitzer Opus 946|Manhattan Theatre]]
| New York
| New York
| U.S.A.
| 135
|
|-
| [[Wurlitzer Opus 1025|1025]]
|
| [[Wurlitzer Opus 1025|Egyptian Theatre]]
| Greenville
| South Carolina
| U.S.A.
| 135 C
|
|-
| [[Wurlitzer Opus 1051|1051]]
|
| [[Wurlitzer Opus 1051|Store]]
| New York
| New York
| U.S.A.
| 135
| [[Wurlitzer Wiring Schedule 674|674]]
|-
| [[Wurlitzer Opus 1068|1068]]
|
| [[Wurlitzer Opus 1068|Rialto Theatre]]
| Norway
| Michigan
| U.S.A.
| 135
|
|-
| [[Wurlitzer Opus 1189|1189]]
|
| [[Wurlitzer Opus 1189|Rialto Theatre]]
| Glen Falls
| New York
| U.S.A.
| 135
|
|-
| [[Wurlitzer Opus 1363|1363]]
|
| [[Wurlitzer Opus 1363|Franklin Theatre]]
| Franklin
| New Jersey
| U.S.A.
| 135
|
|-
| [[Wurlitzer Opus 1375|1375]]
|
| [[Wurlitzer Opus 1375|Heights Theatre]]
| Brooklyn
| New York
| U.S.A.
| 135
|
|}