This 145 has undergone quite the transformation. This is one of the last tube-amplifier models that the company made, with the same action as the 140 series, that featured some of the earliest solid-state amps. The action and reed style design on these was, in our opinion, the best of all their models. The 145 is a rare model, and if you like the tube aesthetic, this is what you want. It is VASTLY improved from their 112 and 120 models, and featured a tremolo pot for the first time in their production.

The design of these older models featured the controls built into the lid, on the left side. While this was fine for the player, it caused problems for servicing, and occasionally one of the knobs can be hit while playing. No bueno! Wurlitzer realized that moving the controls to the cheek block was a much cleaner design. So we did that to this model, very carefully hollowing out the block and adding new pots and wiring to it.

This amplifier has been extensively rebuilt. We have changed the tunes (new old stock), the wiring (controls to amplifier), pots and as many of the capacitors as we could! We've also upgraded the RCA cord and added a new speaker.

The housing of the pre-200 models is a plywood body and metal lid, with a wooden music desk and ledge. It was originally a beige on beige, subtle color variations between the body and top. Not terrible, but not great. We wanted to try veneering; we had done the body on a 140B in the past, but had never tried veneering the lid. It was a challenge! But it came out well. The lid itself is oiled veneer, and the body, music desk, music ledge and legs(!) are oiled walnut. We do have the key cover, which holds the legs, but right now it is not veneered and not attachable to the case, as we veneered over the front latch. If you'd like us to add the latch, please let us know. We'd also be happy to veneer the pedal body if you prefer. :)

On the action, we check every hammer flange for proper friction, and re-pin when necessary. This makes a huge difference! If the a hammer flange has too much friction, it will NEVER hit the let-off point at the same consistency, and make soft playing an impossibility. We've replaced the hammer screws, and tightened all the damper and whipped flanges. We've lubricated all the flanges, and aligned all the parts. We sanded the yellowing key-tops to bring back the natural whiteness, and then put each on the buffing wheel for a glossy smooth touch. We've cleaned all the sharps and stained the undersides. We replaced all the key bushings (front and top mortises) and lubricated the key pins. All the key frame felts have been replaced as well. 

We regulate the action to a super-close let-off point, for precise and optimal power. Of course we are also quite meticulous with key leveling, key dip for proper after-touch, damper timing, lost motion and tuning and voicing. All questionable reeds have been replaced for optimal sustain and timbral consistency.