The instruments used by Klaus Wunderlich in the order in which they were used (as far as is known)
Hammond M-3 1955
Klaus Wunderlich's first organ was rented for performances at the Simpl in Mannheim. In 1959, he bought an M-3, which he used for his gigs. He also played this organ during Caterina Valente's tour, with whom he was on tour for approximately one and a half years at the time (biography).
Hammond C3 ab ca. 1958
The Hammond C3 organ that was used for recordings at the Teldec Studio in Hamburg.
Bechstein grand piano
The Bechstein grand piano was an integral part of Klaus Wunderlich's studio in his early years. He made several recordings featuring it as a solo piano.
The Organ-Trio
The Hammond H100 (center), Lowrey H25-3, and Wersi W-248S organs formed the foundation of Klaus Wunderlich's “New Pop Organ Sound.”
Hammond H100
For a long time, the Hammond H100 was Klaus Wunderlich's main instrument in his studio.
Lowrey H25-3
With the Lowrey, Klaus Wunderlich was able to use strings and string instruments in his productions for the first time. KW used it for strings and glissando effects. But instruments such as trombone, horn, accordion and bell-like sounds could also be produced with the Lowrey.
Wersi W248S
The W248S was the first “real” Wersi organ. A very innovative, still very “analog” organ model for the time. Many different sounds and solo instruments soon made the W248S Klaus Wunderlich's favorite instrument. Klaus Wunderlich bought this first Wersi organ from Wersi ready for operation. However, Klaus Wunderlich built all subsequent Wersi organs himself from the Wersi kits available at the time.
Klaus Wunderlich's favorite sounds: piano, percussion, harp effects and wah-wah. With the 'Slalom' effect, completely new effects could be achieved by detuning the entire organ.
Hohner Symphonic 909
The Hohner provided additional sounds for the “Wunderlich” orchestra in a few productions and was only on loan to Klaus Wunderlich's studio.
Wersi Helios
With the Helios, Klaus Wunderlich finally replaced his previous organs from 1977 and was now able to produce all the sounds he wanted with a single instrument. One of the most important productions with the Helios was the long-playing record “In the Miller Mood”. The Helios also allowed him to finally perform live again and present his sound to an audience.
Moog 55 / IIIc
Klaus Wunderlich and the Synthesizer: An Overlooked Chapter. Klaus Wunderlich's work with the Moog System 55 (also known as the IIIc) remains an unfortunately forgotten story in the history of electronic music. His groundbreaking production Uraltedelschnulzensynthesizergags showcased the full creative potential of the instrument.
In later years, however, the massive Moog was used more sparingly—mostly for select sounds and primarily for bass lines—before being replaced by more compact synthesizers.
Wersi Beta
The Wersi Beta provided Klaus Wunderlich with some new sounds that he was unable to achieve with the Helios. However, the Beta did not have a long life in Klaus Wunderlich's studio and was probably used more for the sake of the Wersi company. One had the impression that Wersi wanted to bring something digital onto the market as quickly as possible. The success was probably to match.
Wersi Spectra
The Wersi Spectra. For Klaus Wunderlich, it was the instrument of his dreams. At last, everything he had imagined musically could be realized with a single instrument. Both in the studio and live. He also adapted the Spectra to his needs with the help of his soldering iron.
Incidentally, Klaus Wunderlich has written an instruction manual for “normal orglers” especially for the Spectra.
Wersi Pianostar
The instrument for piano sounds of the 80s, guitar and effects. For Klaus Wunderlich, the Pianostar was a pure guitar replacement and under no circumstances was anything allowed to be adjusted on the thing !!!
Moog Bass Synthesizer
Klaus Wunderlich's little Moog was a MiniMoog, a real synthesizer classic. It was used for bass in almost all later productions.
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