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Hey folks,
Has any of you ever tried out the Korg Nuvibe pedal?  Any feedback is appreciated.
Ray

Here's a really interesting Rhodes for sale on craigslist

https://sfbay.craigslist.org/eby/msg/d/custom-walnut-rhodes-88/6358458756.html

According to the listing, it was bought some time ago at an estate sale -- you know the kind when an old person dies -- which makes me wonder how long ago this was put together.  It seems to be from around '72 to '73 based on the knobs what appear to be Pratt-Read keys. 

If you look at the control knobs, they're installed in a top that combines what would have been the harp cover and the aluminum name rail.  I can't really tell how you access the tines and tone bars.  Perhaps the whole thing comes off, and they're using a long wire to the RCA jack.

I'd say it's rather sleek looking and looks a looks a lot nicer than the bulky home version of the Rhodes, which I don't think was available as an Eighty-Eight.

Have any of you any experience with either playing, or installing tweeters on a Suitcase cab?
I sure would like to have more brightness on one of my Suitcases.  It just feels DULL and flat.
I've seen pics of the mod, but I've never heard the results.
Opinions welcome!
Ray

Well, it's been two years since this...

http://ep-forum.com/smf/index.php?topic=7921.msg41959#msg41959

In the interim, we finished the white Suitcase model, but now I'm back on it.

If you look in the earlier post, you can find pix of the base, pedal and legs I had fabricated.   The same metal shop is now making a smaller matching base for a seat that will pair up with this piano.

Since I already have a couple keys that have teardrop hammers and Raymacs, I've decided to do something different with this piano. I want the vintage '60s look paired with a Peterson pre-amp, Torringtons, flat keys and neoprene tips.

The top is at Custom Vintage Keys, where it has been disassembled to accept a '74 suitcase piano.  Here are a couple blurry shots of the "new" piano in the shell.  As you can see, it's going to take some chopping to get it to fit under the smaller harp cover.  The wood or the cheek blocks will have to be cut back, and we may have to narrow the harp and frame.

I'll post more pics as the piano progresses.

I spotted this auction on ebay.   Looks to be a "new in box" bench for a Wurlitzer EP. 

http://www.ebay.com/itm/VTG-WURLITZER-PIANO-BENCH-OLIVE-NIB-1960S/262148155596?_trksid=p5411.c100168.m2941&_trkparms=aid%3D333008%26algo%3DRIC.MBE%26ao%3D1%26asc%3D20140131123801%26meid%3D1ba4ba1c53df4826bcffe1d3d9473a82%26pid%3D100168%26rk%3D1%26rkt%3D15%26sd%3D111828246740

I have no connection to the auction.  Just thought some Wurli guy might like to know.
Ray

Anyone ever done the mod to a Peterson pre-amp where the circuit is changed to accommodate LEDs? 

I ask because I recently acquired a preamp where it appears someone has done this.  I'm hoping the mod is reversible, as the unit isn't working anyway.

Thanks,
Ray

Did any late model Peterson preamps have a 4' long wire with a Molex connector on the end?   I know at some point, Rhodes was tweaking the EQ on the upper keys.  Was this part of that wiring??
If so, can anyone tell me what year(s)?

The white Suitcase project is complete.  Well except for the hinges and latches. 
They were put on after these photos were taken.
The piano sounds great, with the two Dynaco Mk III power amps providing a lot of power and girth.
It's going to be used at the Rhodes Fest this weekend.  Perhaps some video will emerge from that.

Here's a few pics.  I may post a couple more when I get the piano back.

Click on the pictures to enlarge...

A great clip of Ray doing a very slow blues, stabbing the Rhodes for full dynamic effect. https://www.youtube.com/watch?v=UIGoqv8zlRE

I'm certain this has been discussed before, but I'm not sure anyone's given a definitive answer.  Does anyone have what they believe is an accurate time frame for when Fender started using Torringtons?   I've heard 72, but I've also heard some time in '71.

I ask because I've got an extra harp from early '71, with the earlier single twist tone bars, and I'm kind of hoping they're Torringtons, but I suspect they're Raymacs.     Not that I have a problem with Raymacs.   I'm currently refurbishing a piano that already has a nice set of Raymacs, and I was hoping this extra harp could be an alternate, with Torringtons, if I wanted to change up the sound.

So I ask... When, to the best of your knowledge, did the switch occur.  Perhaps you have an early Torrington model, or a late Raymac model that can help narrow the transition window? 

Thanks,
Ray

Well, as threatened, I've finally gotten underway on my white Suitcase project.  As you can see, I'm going with something a little closer to ivory.  The harp cover and the check blocks will be a different shade with added pearl for "pop".

This was a 1969 suitcase with tear drop hammers, Raymacs and Pratt-Reads.  I'm sticking with that configuration, but the hammers will be re-shaped.  I'm also going to use a pair of Dynaco Mk. III power blocks.   Removing the original power supply bought us enough room to squeeze them in with the help of new baffles with a slightly wider speakers arrangement.  I'm determined that all mods fit within the specs of a stock Rhodes, so making a deeper cab was out of the question.  As it turns out, the '69 cab, with its two removable baffles better lends itself to this install than a later model would have.

Also included a pic of the grill cloth I'm pretty sure I'm going with.  Any thoughts?

More pics and updates as the project progresses at Custom Vintage Keys.

This little item popped up on Craigslist.

http://losangeles.craigslist.org/lac/msg/4941058660.html

To say the least, the title in the listing planes another slice off the very thin reed that separates "cleverly ambiguous" and "deceptive."

And to avoid any legal issues let me make clear, I make no claim of knowledge as to the contents of that cabinet, and I wish nothing but satisfaction to both parties in any subsequent transaction. Hey, I think most people are basically honest, so sure, maybe there is a vintage 1930s Fender amp in that old wooden radio box.

It's another facet of the new mini-trend that's been going on out there, if ya' believe what's in the papers.  There's a growing community of amp builders who either ape vintage style, or load cool tube amp builds and rescues into yesteryear's radios, TV's, ammo boxes and laundry hampers. 

And I want to know, where's that TV show?

I long ago grew bored with all the DIY home flipping, bike swapping, remodeling and/or garbage picking, storage warring Alaskan swamp shows on cable.  Can't stand 'em. 

But I'd watch the hot dung out of a show where a couple guys, and their attractive female friend who doesn't talk much slice, dice, solder and glue together wire, wood, tubes and speakers: "Okay, Charlie here has gone and salvaged the amp and speakers from this Silvertone Hi-Fi console and stuffed it into this stainless steel Amana space heater... Let's plug it in. " 

Gear fag heaven.

Even on this site, the most interesting posts are often from people showing what they've done to optimize, personalize and customize their Rhodes.  All gets me thinkin' about what would be the coolest rebirth of a Rhodes I can envision. 

As my Rhodes gets 92% of its playing in my living room, it's aesthetically part of our furniture (not sure if the sparkle top helps or hurts).  So, to bite the style of Wurlitzer's electric butterfly (Model 270), I might consider stuffing an 88 Suitcase into an baby grand case.

That may sound like sacrilege, but there are plenty of pianos on craigslist that will never be worth what it would take to properly restore them to full beauty or function.  If you've ever been to a city dump, you've seen where so many end up.

So now I ask: If you were rich or crazy enough, in what manner of shell would you stuff a Rhodes?  Perhaps a tidy cherry spinet?  A sleek upright?  A Hammond B3?  A roll top desk? An island wet bar? And if it soothe your conscience let it be built from a salvage Rhodes. 

And if you're still reading, I'll keep this post more in line with what this forum is supposed to be, I'll pack my ebony baby grand Rhodes with a '72 harp, '69 Peterson, hybrid hammers with square tips, '78 keys with '74 flat tops, pre-'70 steel badges and unlimited Wi-Fi.

Fire away
(Wurli, submissions will be considered on a case by case basis)

This Sparkle Top era suitcase piano, with a BLACK top came up on Craigslist, and even though I very recently purchased a Sparkle Top, I knew these were so rare, and this was so "cheap" that I could not pass it up.  More fun with Raymacs and square tone bars.

I've only seen pictures of these.  The shell of the top is exactly the same size as that on an actual Sparkle Top.  It's a little taller than the vinyl tops we're more familiar with, and not as wide as what Rhodes switched to, late in '69. This harp cover has a strange pair of cutouts on the audience side of the shell to fit the supports on the back wall of the shell.  I'm assuming they're stock.

The lower right corner of the harp on this one was stamped the 20th week of '69.  I think my other '69 suitcase is from somewhere around the 40th week and has the more familiar shell dimensions and harp cover profile that Fender stuck with until the Mk II.

I was surprised to see this piano has a pair of Oxford 10s facing the player, and two twelve inch Jensens (C12Ps?  I forgot to check) facing the audience, or as in many cases, facing the living room wall.  Further confirming Ben's assetion that the toying with 10s happened later, rather than earlier in Sparkle Top production.  Neither speaker set was dated from '69.  The Oxford were both late '68, and the Jensens were from '65 and '66 respectively.

I was please to find this piano also has rather uncommon glides on the bottom of the swivel legs, which are in pretty decent shape.  I always wondered why the didn't put something there.  Without them, my hardwood floors get scraped.  As you'd expect, the legs have a slightly different profile from a 70s era Suitcase.

Another odd feature is the universal voltage selector switch.  Has anyone ever seen one of these on ANY Rhodes piano?  Perhaps someone gigged internationally with this and had it installed.  Or maybe it was a rare stock/special order item.  Kind of cool, but I'd hate to have someone rotate this switch while I was playing.  Not sure if I'm going to keep it.

Happily, this piano also has a Peterson Preamp, but the cabinet was missing one of the power modules.  The guy swore the last time he played the piano, it worked in stereo, and that I must be mistaken, but I opened up the cab and showed him the mounting holes for the missing module.  The one remaining has a CTS trim pot from the 49th week of '67.

The fact that one of the power modules was missing played heavily in getting this thing for $300 bucks less than the seller wanted.  Unbeknownst to him, I luckily have a pair pulled from '69 suitcase that is having a pair of tube amps installed.

One thing I found very interesting was the unique key pedestal bump.  Rather than metal clips, as we've seen on so many Sparkle Tops. These keys have a tiny little wood bump that appears factory. It's little bigger than a toothpick, but it seems to work quite well.  I didn't really get a chance to plug this piano in and play -- because I wanted to close the deal before another person came by -- but the action certainly wasn't sluggish. Has anyone ever seen a Pratt-Read Rhodes key with a pedestal like this?  Seems like a new piece to the ever expanding puzzle of Rhodes evolution.

Anyway, the wife wasn't too happy about it, but long ago I learned you really only regret the stuff you didn't buy.  It's going to need a ground up restoration, but other than the module and a couple Raymacs, which I have covered, it's "all there".   It'll be something I can work on five or six pianos from now. 

I think I saw a recent post where someone stated they were looking for one of these.  This is on ebay, and right now it's at fifty bucks.

http://www.ebay.com/itm/RHODES-SUITCASE-PIANO-PREAMP-/221714846840?pt=LH_DefaultDomain_0&hash=item339f3c1478

Check out these things on ebay across the pond.  Might be worth grabbing the pics for your Rhodes archive. 

This is a Satellite system in Italy for the Rhodes, oddly branded as "Piano Amp"
http://www.ebay.de/itm/FENDER-RHODES-PIANO-AMP-/291403389527?pt=DE_Musikinstr_Studioequipment_Sets&hash=item43d8feda57

This magnet set has a rather odd choice for the Fender Rhodes.  Take a good look.  Someone in Poland has made a magnet version of the extremely rare Executone.
 
http://www.ebay.com/itm/Hammond-B3-Fender-Rhodes-and-Vox-Continental-MAGNET-SET-/181679543325?pt=LH_DefaultDomain_3&hash=item2a4cf1d41d

I believe someone in the group actually owned this actual piano for a while?  I recognize the odd "custom" switch or jack on the far right side of the name rail.

In a recent post I offered a link to one of my favorite sounding Rhodes pianos on youtube.
If you missed it, here it is:  https://www.youtube.com/watch?v=RD1nBPRZc-I

It's got all the things I look for in a Rhodes: sparkle, growl, fatness, punch, sustain and the stereo tremolo.

I now ask you to reply with your favorite Rhodes piano clips as seen on youtube.   Maybe it's you?  Or a clip of someone you've found? Or perhaps it's a Vintage Vibe demo?  I'd like to keep it to actual examples of people playing, not uploads of pre-recorded albums and CDs.

Also, I would hope your choice(s) feature the piano tone more than the player, if you know what I mean.  Because let's face it, Herbie Hancock will make whatever you stick in front of him sound amazing.  That said, if there's a pro player clip that really captures the tone you look for, send it along.

I look forward to our choices,
Ray

Anyone know what year the Sparkle Top switched from using a pair of 12"s (facing the audience) and a pair of 10"s (facing the player) to using  four 12" speakers?  I'm trying to date a recent purchase.  Mine has a pair of Utah 12s from early '67, and a pair of Oxford 10s that appear to be from '68, but I don't know if any are original. 

Mine still has the mono Jordan pre-amp.

Ray

My home Suitcase Model is in the shop, so I've been playing my Stage 88 through a Fulltone Supa-Trem2 pedal, into a pair of small amps to get stereo trem. 

Man, this thing sounds great!   It has sine wave and warble settings that get you in the Peterson neighborhood, as well as a square wave setting for more of a Mk II sound.  It wasn't cheap, but it's still cheaper than getting a Peterson and a Suitcase cab.

Here's one of the several demos on youtube.

https://www.youtube.com/watch?v=f95liTzPTUg

Anyone else tried this pedal?
Ray

There's a Gold Sparkle Student Model piano for sale on ebay.  Way too rich for my blood, but lots of pics if you've only ever seen one on the old Super Site.
http://www.ebay.com/itm/1964-FENDER-RHODES-SEVENTY-THREE-73-GOLD-SPARKLE-STUDENT-STAGE-SUITCASE-PIANO-/301488245235?pt=Keyboards_MIDI&hash=item46321989f3

I'm not, and have no connection to the seller, but I have seen this piano in person at Custom Vintage Keys. Actually, it's this piano's base that I borrowed so a metal shop could fab a similar base for my own Gold Student Model (in a previous post). 

This one has been fitted with a Peterson pre-amp (as will mine) as the original preamp is long gone.  That seems to be the case with every one of these I've ever seen.  I believe the old preamps used to connect to a seat that had an amplifier in it.  That would be the ultimate find.
Anyone ever seen one of these with the amp/seat?  Did it have any kind of vibrato?

Here's Ray doing a Christmas standard. 
My guess is it's a Mk II.  His solo starts at about 1:20.  Tell me what you think.
https://www.youtube.com/watch?v=d3PM7wVtXiw

I just listened to "Sheep" for the first time in probably 25 years, which goes back to long before I started playing the Rhodes.   

My understanding is that this cut is considered by some to be a classic track for Rhodes sounds.  However, I have to say, I wasn't that impressed by what I heard. 

Part of that may have been the overall recording quality which seems to have less air and presence than other Pink Floyd recordings, particularly 'Dark Side...'.  Instead, this whole album seems rather squashed sounding and flat to me. 

The Rhodes on "Sheep" sounds sort of like a suitcase, but the stereo trem isn't very spread out in the mix and seems set too fast and shallow to take advantage of the Peterson's spatial offerings. It almost sounds like a mono signal that had effects applied to it to simulate stereo. 

Sounds Mk II-ish to me, with a tighter, stiffer quality to the tines. Anyone know any details about the role of the Rhodes in this track willing to share info and save me a Google search?  What model, year, did they use the Peterson, or add the vibrato in post?  etc?   

Ray

Hey all,
What's the best source for getting a leg brace knob for a Stage Model?
I know some of the usual suspects have them, but they want twenty bucks for the knob that probably costs three bucks at Lowe's etc. if you can find them.

I know it takes a 10-32 thread, but how long should the stud be?

Thanks,
Ray

Does anyone know if these had pianos had reeds, or were they merely electronic?

I have a couple different suitcase models, and it seems that in both pianos, when using the tremolo, the Ping is stronger than the Pong, if you know what I mean  -- one channel seems to be louder than the other, rather than the expected even distribution of the trem effect.  Instead of getting 180 degrees of trem, I get a hard trem on one channel and a softer, quieter volume effect on the other.

It's not nearly as noticeable when using the cabinet, but most of the time I have to use headphones, which really brings out the annoying imbalance. 

I've swapped out a couple of spare Petersons that I have, but the negative effect remains the same.  This leads me to believe that the problem is in the power section of the amp -- either the supply or modules?  When taking the signal from the iso L/R outputs on the side I noticed that when the Peterson is on, one channel has a very clear "on/off" signal.  However, the other one is more of an "on/faintly" on signal. 

Do any of you know which way it's supposed to be?  Any help is appreciated.

Thanks,
Ray

Are any of you aware of any changes in the Peterson pre-amp over the years of it's production?  I have one from 1974 in a suitcase model.  I've just had work done on the power modules, but I was still getting a bit of faint "ocean" noise on one channel, so I decided to swap the pre-amp with another I have from 1969.    The one from '69 seemed to have a lot more output than the '74 which seemed a lot more mellow.   

I haven't opened either one to see if any components had been changed, but I was wondering if any of you have had similar experience or knowledge of there being differences in the Petersons over the years.

Thanks,
Ray

Here's a great youtube clip of Bob Mayo in '77.   He's playing a white Stage Model, which I'm told he ran through a Leslie.  Sounds absolutely killer.  He also plays some greasy Clavinet on this track, which he wasn't using on the FCA album from two years earlier.
That guy could play!

http://www.youtube.com/watch?v=f1kk0X4jmAQ

I've been using a mid 70s Maestro Stage Phaser with my Rhodes.  Originally meant for guitar, the pedal has some pretty cool foot functions and sounds.  The only problem that I really have with it is the very pronounces "shwoooosh" in the signal, regardless of how low I set the depth.  There's an internal trim pot that I haven't tweaked yet, but I suspect the end result won't eliminate the swooshing, as much as it will diminish the overall phasing effect.

I tried a friend's Phase 90, and Small Stone, but didn't really like them that much.  I realize older pedals can vary widely.  Maybe they just weren't stellar examples. Did they just bury that in the mix, back in the day?

I just haven't found the right "Still Crazy After All These Years" sound that doesn't come with the annoying swoosh. 

Anyone want to offer an alternative?  Been thinking a lot about the Boss CE-1 Chorus as an alternative to using a phaser.

Best,
Ray

Man, I was loving the Rhodes tonight. The sound.  The feel... 
Got behind the 88 Stage plugged into a very overlooked Fender tube combo from the '80s. Together they gave up a tough blend of sparkle and snarl. This particular piano has such great bounce to it.  Whether I punch it, or use a light touch it pushes back just enough. 

Let it be said: The chilly, thin-walled garage was feeling the power of my rock -- which, when it's there, is most awesome.

Now, I've played and heard quite a few Rhodes sounds on digital keys, and have often been surprised at how good some are.  But five minutes after playing them, I'm bored.  The whole experience of playing Rhodes samples on a controller doesn't give anything like the vibe of getting your fingers all over a real Rhodes.  That Rhodes "thang" inspires me to play in a way the many Fauxds pianos can't. 

It's been said to death, but there really is nothing like the real thing. And yet, I've found no two are alike.  Every single Rhodes I've gotten me hands on turned out to be a completely individual creature.  Some were amazing.  Some were not. But given ample time under my hands, even the "not great" one never failed to offer up something nasty or sweet that only a Rhodes can.  They're like women, which is precisely why you need to have as many as you can before you die. 

Anyway, I love the posts.  Thought I'd dispense with all the Rhodes nerd minutia about where to find this, or how to fix that, and offer up one that just gushes about effing cool these things are.

Then I read it and it sounded stupid. Good thing I hit delete and didn't post it.
Phew!  Bullet dodged...

Aw, crap.

By the way "Render Fauxds" piano is copyrighted by me, but feel free to use it.

I don't have one, but I understand the newest iPhone has a high speed camera capability. 
Anyone tried to use the super slo-mo to see micro double strikes on their Rhodes? 
That would be some cool footage to post a link to.
Ray

It's on FeeBay, right now.

http://www.ebay.com/itm/FENDER-RHODES-RARE-UNIQUE1969-SPARKLE-TOP-ORIGINAL-AND-COMPLETE-2ND-OWNER-/181287426199?pt=Keyboards_MIDI&hash=item2a35929897

It's got a completion date stamp from August of '69. You'll note it has tear drop hammers as well as the earlier "straight" twisted tone bars with no offset to allow tine travel.   

(Who knew tine travel was so easy?)

Anyone ever played one this early?  I guess it'd probably sound close to a very late Sparkle Top, which came with the Peterson stereo trem. Did those late Sparkle Tops ever have anything but square tone bars?

It's in my neck of the woods.  If I weren't jammed up with the holidays, I'd try to get out there and kick the tires.  Eh, maybe I'll find the time...

By the way, Merry Christmas everyone.

I was reading an old Jas Obrecht interview w/Steve Morse of the Dixie Dregs, and here's how his Road Manager, Twiggs Lyndon dealt with the perennial Stage Model sustain pedal problem when he worked for the Allman Brothers...

I won't work for a band with a Rhodes that does not have a board underneath it... You know the sustain pedal scoots all over the place? With Chuck [Leavell] that's one thing I did use. For Chuck, I had a piece of plywood.

It's real simple. Anybody can do it. You just take a piece of three-quarter-inch plywood, take some of those wood-boring bits, and bore three-eighths of an inch down into it where the legs will sit. So the legs to the piano sit down in those notches. The board is slightly larger than the perimeter of the four legs. And then you go and use a plumb bob. Hold it up there where the hole is and find the exact place where the sustain rod wants to come straight down. And then mark that and then mount the sustain pedal. You have to put little spacers, but it's already got screws, those little rubber feet. Ditch those, and just come through the bottom of the board with four quarter-inch coarse-threaded screws. Counter-sink 'em, and you bolt the sustain pedal to the board. So if anybody hits the entire affair, then the entire affair moves together, as opposed to the pedal scooting here and there. Chuck didn't use all those gadgets and pedals and things.

So there you go.  Have your roadie set up your Rhodes today!

Ray

Someone posted about getting extruded aluminum for a Mk V cover.
Thought I posted this link to an ebay auction for a lid, but I can't find it.
So here's the link to the completed auction for the unsold Mk V top.

http://www.ebay.com/itm/Rhodes-Mark-5-V-Top-Harp-Cover-RARE-/271315703729?pt=LH_DefaultDomain_0&hash=item3f2bad17b1

Ray

Fellas,
I got a hold of some Fender Jazz Bass knobs, and I'm thinking about putting them on one of my sparkle jobs.

As I'm sure you know, this Suitcase Eighty-Eight was never offered with a Sparkle Top, and it came with the more barrel-shaped, post-'74 knobs.  I've never liked those,  so this piano normally has the earlier, cone-shaped knobs which are easier to use when it comes to turning on the vibrato.   

I think these metal knobs look pretty good, but I can sometimes get a mental block against anything that deviates from the original aesthetics. I can't decide if I prefer the two-tone Jazz wheels in the picture over the early cone knobs.

The pic is a little blown out by my phone, but I'd appreciate any opinions.

Ray

Anyone ever re-chromed their tone bars?
Wondering what, if any effect, this might have on the tone?
Any thoughts appreciated.
Ray

At my job, I have the good fortune working with Walter Murphy.  I happen to have an old print advert featuring him, during his endorsement deal with Hohner, for the D6 Clavinet.   He couldn't believe I had one, "Where the hell did you find this??" He told me all he got for the Hohner endorsement was a free Clavinet, which was eventually lost in Mexico when all the band's equipment was stolen.

I had him come by my office where I have a late '70s D6, as well as another '74 Rhodes that's the sister to the one in my avatar.  He was kind of shocked to see them, as he's an all digital guy now.  "Can you even get parts for these?" 

He played both of them and you could see he was clearly digging the old vibe.  Used the wah for the clav -- "I haven't used a wah in years!"  He sat at my Rhodes and blurted, "Yeah, that's the sound!" then admitted, "Nothing really sounds and feels like a Rhodes."

I'm sure there are many incredible players on this site, but it's funny how so many full time pro musicians abandon the vintage gear for the modern substitute. I guess it shouldn't be a surprise as they're busy making a living with their gear and probably don't have time to maintain them.   It makes sense in that owning these old keys is a lot like owning an old car. As such it'd be like expecting NASCAR driver to spend his time fiddling with a '53 Studebaker. 

Ray

I'm co-restoring a Rhodes that has very worn and blackened pedestal felts. They're not horrible, as far as the action goes, but since I'm redoing just about everything else, I'm going to replace them. It has the Marcel Curve on the pedestals, so I think I'm going to not bother with a bump mod.

I've watched a Vintage Vibe video about replacing the felt
http://www.youtube.com/watch?v=D7dqqxvTYRQ

And I had a couple questions about their methods.

They suggest acetone to remove the old felt.   I know acetone evaporates pretty readily, but are residues any threat to a good bond between the wood and felt?  Can residues damage the plastic of the hammer cam?

The guy also seems pretty loosey goosey with his cement.  Is getting this adhesive from your fingers onto the exposed side of the felt a danger?

Are there any crucial things they left out that I should consider before tackling this project?

Thanks,
Ray

[Mod Edit]

http://www.flickr.com/photos/33536929@N06/3120080587/in/photostream/

Okay, perhaps the exclamation point wasn't necessary, but a few months back I posted about a Suitcase 88 that I picked up, only to find many of the tines had what my tech referred to as "black tine rot." In worst case scenarios "BTR" allegedly robs tines of resonance and can make them dull and in need of replacement. 

I had promised to get photos out, but that piano is still in his shop, on a very far back burner. 

However, in Bjammerz's post about early Sparkle Top tube amps, I found this pic in the corresponding flickr account.  Behold, the black tine rot!

http://www.flickr.com/photos/33536929@N06/3120908252/in/photostream/lightbox/

Note the tone blocks on the bass end have all turned black.  Perhaps there was some impurity of the alloy or the zinc plating?  I don't know.

Or perhaps it's due to a specific exposure this piano encountered because, when you think of it, it seems unlikely that tines randomly grabbed from a bin and stuck in various pianos would end up having the same "sickness" and be bunched together in one piano, as we have here. 

Anyone else ever encountered such a condition on a piano?  Did you notice any differences between affected tines and their non-afflicted neighbors?  Max?  Steve H?

Ray

[Mod Edit: duplicate post removed at user request]

These look to me like they many have come from a Sparkle Top -- 10" holes on the player's side.

http://www.ebay.com/itm/Fender-Rhodes-Suitcase-Speaker-Baffles-2x10-2x12-212-210-/290995274045?pt=LH_DefaultDomain_0&hash=item43c0ab813d#ht_87wt_958

Ray

So after my piano lesson tonight, my teacher asks me what kind of piano I play on at home.  "I play a Rhodes", I told him.  He then nodded approvingly, and said, "That's a good brand."

"Good brand"? 

Right away, I knew something was up.  I pressed him and asked, "Have you ever played one?"  Keep in mind, he's a very skilled classical player and teacher, all of 22 years old.  "I think I may have once," he replied.

I knew right away that if he wasn't covering for ignorance, he was perhaps thinking of the Roland made Rhodes keyboards and controllers.  So, I explained what a Rhodes is (electric-mechanical piano with tines, pickups -- blah, blah, blah) and he looked at me like I was from another planet. 

He's never seen or played a Rhodes.  He has no idea whatsoever of its place in music, or music history.  None.  It kind of blew my mind.  Then I remembered I'm twice his age, and that he's part of a generation whose only familiarity with the Rhodes may be as a non-defined "piano sound" in an old song, or a generic Electric Piano setting on some digital keys he may have played once. 

I wanted to pull up some youtube clips of a Rhodes in action, but he had to leave.  Instead, I'm going to email him a few.  And I thought who better than you to suggest clips that best display what a Fender Rhodes is all about. 

Please post links to your favorite Rhodes clips.  I'd prefer actual video of one being played, rather than a track, and preferably solo piano playing so as to best display the full range of the Rhodes without guitar, bass, drums or Javanese nose flutes getting in the way.

To get the ball rolling, here's one of my favorite youtube clips of a '71 Suitcase model in action.

http://www.youtube.com/watch?v=RD1nBPRZc-I

I welcome your suggestions.

Ray

I'd be willing to do it for you, in exchange for the Fender Rhodes name plate for the front of the Sparkle Top cabinet.

I had good fortune getting the metal logo for the name rail and no one had to die (Thanks, Peter Hayes)

If I can get a hold on the larger name plate, my badging issues will be behind me.

If you have one, or know where I can get one, I will reward you most handsomely.

Best,
Ray

Okay, I've been playing a lot through headphones lately, and I'm noticing odd sounds and overtones on certain intervals in the mid to upper register that I don't notice as much playing though the Suitcase cab.  Leads me to wonder if stretch tuning might help with that issue. 

Anywayt, I've decided I need to start tuning my own pianos.  And now I ask, what do you guys suggest for a cost efficient tuner.  Do I shop around ebay and try to pick up an old Peterson strobe unit?  Or do you suggest something else?

Also, any tips or techniques to get more out of the process are greatly appreciated.  For example: Any opinions of stretch tuning vs. even tempered?
Thanks,
Ray

I'd love to hear members' preferences for the type of keys on their Rhodes...

I used to veer away from the Pratt Read keys.  I have them on my first Rhodes, a '68 Student Model, and always thought the felt kind of flimsy.  I preferred the solid feel and sharp look of the post '74 solid flat top keys, which I believe I've read were made by Wurlitzer. 

However, the solid keys on my '75 Suitcase (as seen in my avatar) are perhaps too "sharp".  The sides of the black keys are molded without the softer edge as found on the PR keys.  Also, the black key cap doesn't extend very far down over the wooden key upon which it's glued. As a result, the plastic edge at the bottom of the cap tends to dig into the sides of my fingers and after some time leaves them sore, bordering on raw.  Anyone else have this problem?

Oddly, my '74 Eighty-Eight Suitcase has similar solid key tops, but doesn't have the sharp edges and feel of the '75.  I know the kind of plastic Fender used changed over the years, and for example a '76 has a much different feel from what's on my '74.  In general, I'd say the '76 - '78 key tops feel as though they're made with slightly thicker plastic.  They also seem MUCH slicker and "plastic-y" than my '74.  It's as if in '74 they were trying to achieve something that felt closer to the texture and stickiness of ivory.

On the other hand, I've really come to love the feel of my '72 Stage Model with Pratt Read keys.  For some reason they just feel more solid and "there" than what's on my Student Models.  Perhaps this is a function of subtle changes in the action -- pedestal design? balance rail location?

The reason I bring this up is because I'm making a custom 73 Suitcase out of a couple different Rhodes pianos, and I can't decide which feel I like more.  It's going to have felt-tipped hybrid hammers and Raymacs, so it almost feels like it should have Pratt Reed keys, but the solid feel of the Wurli-styled keys might be really nice.  Feels more Cadillac, ya know?

So which do you prefer:  PR or Wurli?  Do you like the curved top over the flat top? 

Sound off...

Ray 

Just thought I'd let you all know, I'd be willing to do it in exchange for a metal "Fender Rhodes" name rail logo.  Have project I'm working on that screams for one.  They were on the Sparke Tops, Student Models and VERY early MK Is.

In lieu of a capital crime, I'd also be willing to pay for one.

Thanks!

Ray

Hey guys,
I'm working on a restoration that has Marcel Curve key peds.  I think the action feels pretty good, but I'm pretty sure I'm going to replace the pedestal felts.  They're worn and blackened with graphite or something.  I'm told even the graphite puts tiny scratches into the back of the hammer cam.

Anyway, I was considering whether I should do a pre-emptive bump mod? 
Has anyone done a bump mod on a piano that already has the Marcel Curve?
Is it worth it, or too much of a good thing?

Max?  Anyone?
Thanks,
Ray

Hey guys,
I'm finally getting started re-tipping a '69 piano with hybrid, felt-tipped hammers, using the felt I custom ordered.  Got a few questions for you tech types:

I suspect if I try to get the tip off while the hammer is still screwed in, I'll snap the pivot pin.  So, it seems the best way to go about this is to remove each hammer and corresponding damper before attempting to cut off the old felt with a single edge razor.  Is this what you suggest? 

This older model doesn't have damper combs.  Instead, each key has its own individual damper screwed and glued in place. I figure it's easier to remove the damper with the hammer, rather than de-glue or cut the bridle strap from the metal damper arm. This means cutting through the brown glue that's dripped near all the damper mounting screws.  Was this stuff used to keep the dampers from shifting around?

If so, I'll have to use another glue to achieve the same purpose.  That means if I don't want it to look like a butcher job, I'll need to remove the old glue that remains on the damper arm. Razor seems like an option, but the glue is pretty tough and the pressure I'd need to get under it could distort the bends the damper arm.  Perhaps a solvent like acetone could take this stuff off without me bending/gouging the arm or slicing my finger off.  Any suggestions?

Thanks,
Ray

This is a very cool youtube link to Ray's isolated track from "Riders On The Storm."
We've all heard the track a thousand times, but hearing the piano alone is revelatory.
Recorded in late '70, so I guess this is the sound of late Raymacs.  They sparkle on this cut, yet still have a lot of punch when he hits it. 
The piano might have had teardrop hammers, but felt cube tips at the least, no?
Interesting, shimmering vibrato.  Pictures from the session show a Stage model, so it must have been an outboard effect, I guess.

Check it out.

http://www.youtube.com/watch?v=UsuAqc4Ezps&NR=1&feature=endscreen

Ray

Okay, I'm intrigued by the time periods for the various transitions in the piano.
So, much like my query last week about the transition to aluminum harp supports in the '75 era pianos, I'm interested to know when Fender switched from Raymacs to Torringtons.

Thought I'd read somewhere that it was late '71, or early '72.  But I've recently picked up a harp that has Torringtons from somewhere around April of 71 (TBJ Date Code 1571).

Anyone have a Rhodes with Torringtons from an earlier date?

Ray

As stated in a previous post, one of my 88 Suitcase pianos has a harp, keyset and hybrid hammers from a Stage model dating from mid May of '75 (20th week).  This means that, generally the change to aluminum harp supports and all plastic hammers occurred after that date -- assuming that my piano wasn't made of old stock parts after the change was implemented.

Do any of you have a 1975 Rhodes with hybrid hammers, wood harp supports etc., made later than the 20th week of '75, as per the lower "completion date" usually found near the gold foil label on the tone bar rail of the harp?

Anyone with a '75 possessing all plastic hammers and aluminum supports have a date that precedes my mid-May date?

I'd imagine that between the Stage, Suitcase, 73 and 88 models, there was probably some cross over of dates during the transition to all plastic hammers.  But it would be cool to get a more accurate date of when the transition occurred. 

So c'mon all you '75 owners, whattaya say you post your date stamp, and the corresponding features and let's figure this one out.

Ray

I finally got around to ordering the felt I need to replace the tips on a transitional piano.  It's a Student Model from 1970 -- Hybrid hammers, felt tips, one harp support, twisted steel tone bars without the extra bends.

I had them cut a sheet of dense 3/8" felt into 5/16" strips.  As you can see from the photo, the hammer gap is 3/8" wide, by 5/16" deep.  I'll be cutting the height of the tips from the lengths shown.  I have a lot more than I'll need!

Then I'm taking guts from the Student Model and dropping them into a Suitcase shell that I have.   I'm then going to cover the cab etc., in white.  The harp cover will be white w/pearl, similar to this photo I found on line.

Look for it in a couple months.
Ray

There's one for sale in Austin TX.

http://austin.craigslist.org/msg/3751982327.html

Has EQ, Chorus, Lid chop and black name rail.

Good god, they are ugly though.

Ray