Left, the equipment density within the reed pans is quite high as this picture shows.  The next picture shows this in more detail.

Right. Here's a better look. You can see the individual brass reeds mounted on their shal-lots which are in turn mounted on Bakelite strips so that they are insulated from the reed unit structure. You can also see the commoning wire that connects all the shallots and ultimately takes the combined signals to the load resistor and then the input stage of the amplifier.
     Notice also the sheet metal shields that isolate the pickups from adjacent reeds to prevent the picking up of signals from nearby reeds. Voltages are high, resistances are very high and signal levels are very low, all of which are conducive to sensitivity and pickup of stray signals from not only adjacent reeds but 60 Hz AC power and also radio frequency signals. The main function of the steel pans, besides protecting and sealing the reed unit is for electromagnetic interference shielding to keep out AC power hum and RF interference from being pickup up and creating extra noises in the speakers.
     Notice also the adjustable blast gate. Here the air from the high pressure side of the system is admitted to the interior of the pan. The air then passes inward through the reeds to make them vibrate.

Roll mouse cursor over picture to see details.

     Because the reeds vibrate all the time when the instrument is powered on, if they vibrated at a high amplitude, they could ultimately develop metal fatigue and break. The blast gates serve to cut down the air flow to just what is needed to get the reeds going and keep them vibrating. Because these reeds are not used as sources of acoustic sound, they do not have to work hard like the reeds of accordions and reed organs. The blast gates are set to limit the airflow to just enough to keep the reeds moving. Each pan feed channel is fitted with a blast gate, Roll mouse cursor over pictures for details.

Left. This picture shows the arrangement in still more detail. Here you can see part of the pickups that are over the reeds, and also the sheet metal pickups at the front edges of the reeds. Notice also that the reeds are not in exact order of pitch but are arranged in pitch intervals that are not closely related. This prevents adjacent reeds from pulling into synchronism or interfering with each other's vibration rates. As is evident from these pictures, the electrostatic reed system is a mechanically very complex device and also a very close-tolerance unit. It is probably because of the great expense required to produce it that Wurlitzer discontinued this system in 1961 and all of their subsequent electronic organs used conventional solid state systems similar to those found in many other electronic organs of that era. Nevertheless, when it is working correctly, the electrostatic system gives very good results, stays in tune indefinitely, and is a marvel of mechanical workmanship.