Molex connectors take up less space, but, since the amp is point-to-point wired, there is an advantage to the octal socket. Fancy octal plugs like this were eventually superseded by plastic Molex connectors, so you won't find any plugs like this in later gear (unless it's completely custom). Octal socket connecting the wiring harness. When apart, the amp has one long, open side, which is convenient for making repairs. When screwed together, the chassis is completely enclosed, which is not only good for shielding but prevents dust and debris from getting inside. Both pieces fit together to form a completely enclosed box. Instead, it is composed of two L-shaped pieces, each with one deep wall opposite a shallow lip. However, it is not made of one continuous piece, like later Wurlitzer amps. In order to fit in a Wurlitzer 120, the amp is long and narrow. Which brings us to our next point: the shape of the chassis. If this is a concern, it is relatively easy to re-wire the heaters and add a center-tap, since the chassis is partially open. The heater is also a somewhat more noisy non-center-tapped design.
Some details could be improved: heater and transformer wires aren't twisted, for instance, but they never are in Wurlitzer amps. Each pin of the 12AX7 has its component mounted directly to it with short and more or less straight leads.
In the preamp, components from each half of the 12AX7 are physically separate, which avoids noise and cross-talk. There is definitely a logical arrangement to the components. This Wurlitzer amp is a really nice example of point-to-point wiring. However, when done correctly, it is possible to achieve very short and direct leads, which contributes to a clean signal. Point-to-point wiring can sometimes look messy, and it can be difficult to achieve a layout that avoids hum and oscillation. Like most amps of the period, the 700 amp has point-to-point wiring. (Supposedly this reduced noise and “frying” sounds.) The cathode bypass capacitor is intended to reduce the amount of noise that can leak into the cathode via the heater filament. Also, the input circuit is absent from this chassis, because it is mounted on the reed bar.
You can tell because of the presence of a cathode bypass capacitor on the input triode. Features of this amplifierįor a more technical discussion of the circuit, check out our article here. Don't forget that the Wurlitzer 120 and 700 have a specific style of reed, which contributes to their unique tone. It definitely has plenty of tube warmth, as well as that natural Wurlitzer shimmer. Unlike the 112, it has just one preamp tube and a very small chassis, which makes it less suitable for mods. This amplifier is all-tube and, like the 112, contains no onboard vibrato. Are there other finishes as well? We wouldn't rule it out. We’ve seen it in light oak and dark mahogany. It resembles a very small spinet piano, although it's much lighter since the cabinet is mostly empty. The 700 is the console version of the Wurlitzer 120. Maybe with spring reverb? Unlike most Wurlitzer models, the 700 is not limited by cabinet space.Ībout the 700. But since the cabinet on this keyboard is enormous, we might opt to replace it with a new amp instead. We’ll probably re-cap this amp before we re-install it in the keyboard.