Messages

In general, the silverface Twins are suited very well for the Rhodes. There are some differences, the major one would be, that there are two versions: one with 100W and one with 135W.

Mine is a 135W and it can get loud as hell. It's from 1981. I'd suggest, you take your Rhodes and try any vintage silverface Twin you can get your hand on and then let your ears decide.

Best
HammondToby

It's a Silverface 'Twin' Reverb with 4x12" instead of 2x12". That's the only difference. I saw one once, but never played one.

Best regards
HammondToby

Hi Spooky, a few years ago, I had contact with Sweetwater about selling a Kurzweil K2661 to germany. They said, that there is no problem in sending the unit to me... Fortunately, the distribution started to import again and it wasn't necessary, but then again, I think, they might send the MXR to Switzerland.

May be, I have a look for it too, the original TS-1 is quite big and I tend to cut down the size of my effects board, only the CE-1 will stay as the biggest unit.

Greetings from Stuttgart
HammondToby

p.s.: nice cat!  :wink:

The only thing, I'd think about, is an other Leslie simulation, if you don't want to lug your real one around, 'cause the one in the CX-3 isn't that good. It's not a must, but I think, it's necessary, if you want to have a convincing organ sound.

Just my 2 cent
Best, HammondToby

At that point of the developement and in this surrounding, you couldn't really say, what it's like. The 'harder' keybed reminded me of the Fatar TP-10 in my Kurzweil, the softer I couldn't play to good, I bet, it was one of the cheeper Fatars.

The sound was something like the bark of a MK-I-Rhodes without the bell within the attack, but what can I really say, it was a year ago and I don't remember every detail.

Best regards
HammondToby

I played it last year on the Frankfurt Music Fair... At that point, there were just two prototypes with different keybeds. This is a physical modeling piano and the models were barly more than layouts, although one piano suited my fingers quite well. I talked a while to Wolfram Franke, the chief developer, and at that point, they focused on the Blofeld.

Unfortunatly, I got ill last weekend and I doubt, that I can make it to the Fair this year. Otherwise, I'd give an update about the zarenbourg.

Best regards
HammondToby

Hi Mark II, here is a search result from the german national library. Try to find some other books via the (american) Library of Congress or the British Library, they should have informations and book, if there are any, you'll find them there.

http://dispatch.opac.d-nb.de/DB=4.1/HTML=Y/CHARSET=UTF-8/IMPLAND=Y/LNG=DU/SRT=YOP/TTL=1/SID=f8c4495b-a/SET=1/SHW?FRST=1

Best regards
HammondToby

There is nothing wrong with the Chorus/Vibrato. A chorus and a vibrato is a pitch shifting effect, a tremolo does volume modulation and the TS-1 does volume modulation on two seperate channels (panning). So it's a completly different effect. Therefore I use it with the (stereo) JC-160 wich is modified to allow a stereo effect chain... well now it can get very complicated to explain this, but in general let's say: it sounds good  

Best regards
HammondToby

Sure it does, any analog effect will do this to a certain degree. My Phase 100 produces quite a lot of noise, but the sound is that good, that the noise doesn't matter to me, 'cause I use it mostly live. Most of the time, noise from effect pedals is barly noticeable, 'cause an amp produces noise too and the band isn't exactly quiet.

Try to rent some pedals and see yourself, if they work for you. This is really a matter of taste and convenience. So, nobody can tell you, if the noise is too loud or not.

Best regards
HammondToby

No, the CE-1 has four controls: rate and depth for the vibrato, intensity (and speed) for the chorus and a level controll for the input gain. So, if you have a volume drop, it's your own fault.

Here's a pic of the CE-1 (but not mine):



You have to try, if there are any drops, maybe my pedals have them too, but if it were so, I didn't notice them.

Best regards
HammondToby

Well, a few years ago, I played live with panning effect (Dunkop TS-1). For that purpose, I lent a second Twin Reverb Silverface from a guitarplayer and miced them both. But it's quite heavy to lug two Twins around, so I stopped playing stereo. So now I play with the mono tremolo from the Twin and mic it. Although the Twin has two speakers, it still is a mono amp.

AFAIK, there is no stereo amp with integrated panning effect. One solution would be a second Twin, or a (new) JC-120. The JC-120 has a stereo effect loop (mono send, stereo return), so you could use a TS-1 or a Stereo Pulsar in the loop. No matter, wich way you go, you'll have to mic both channels.

Usually, I use Sennheiser MD 409 mics for guitaramps. I believe the current identification e906 or e609 or something. It's quite easy to use them, as I don't need a stand for them, just hanging them on the cable over the amp. I place any mic, no matter if it's a SM57, MD441 or something else, about four to five fingers away from the outer edge of the speaker.

Best regards
HammondToby

Looks like a propper effect chain. This should work perfectly without any sync problems, 'cause the signal is going through the same components. I hope, you'll get the sound you like, this is a matter of taste and experience, so this is a step into the right direction, as far as I can tell, and you can add more effects or exchange components, if you want.

Best regards
HammondToby

I've never had a volume drop within my pedals. And, as you see, in my live setup, the effect pedals are before the preamp of the Twin:

Rhodes > MXR Phase 100 > Boss CE-1 > Twin Reverb

If you want the panning effect, use the phaser in front of the preamp. So, the chain would be:

Rhodes > Phase 90 > Reussenzehn Suitcase Preamp

If you connect it the other way round, you'd have no panning effecct, but a mono tremolo, like it is in the Twin, 'cause you could only connect one output of the Rz. Panning vs. tremolo is a matter of taste. For live, the tremolo in the Twin is good enough, I tend to play mono... In studio and at home, panning is more for my softer playing. I suggest, if you have another effect pedal, try the signal chain and use the one you likee best, there is no good or bad way to do it.

If there would be a volume drop, it doesn't matter, where the pedal is in the effect chain: the drop will be there.

Best regards
HammondToby

[Max Röhrig]

I've got the Max Röhrig, a small pedal to give more tube warmth to guitars and boost the signal, no tremolo or other effects. The Suitcase Piano Preamp is another story! So, the soundshift from my pedal is subtle, the effect of the Suitcase Preamp is quite big, due to the EQ, other tubes, panning.

The Suitcase Piano Preamp has not just a boost and the panning, it also has a 3 band EQ. Well, handcrafted stuff is always expencive. True, there are other possibillities to get a tremolo or panning, but then again you'll need more stuff, so let's calculate, shall we?

Presonus tube pre (175 Euro), EQ (Boss GE-7, 88 Euros), Panning effect (EHX Pulsar, 80 Euro) > 343 Euros, modular setup, but not especially designed for Rhodes.

Reussenzehn Suitcase Preamp: 449 Euros, designed for Rhodes

Taste und Technik, TRamp: 445 Euros, designed for Rhodes

Vox VibraVox: 195 Euros, guitar preamp.

Roland Jazz Chorus 120 (no tremolo): about 850 Euros (new), 300-500 Euros (used)

So, that's a short overview about possible solutions, what choice you make is up to you.

Well, 'space' is a bit misleading: M3 is at home, C3 no1 in the studio and C3 no2 in my car for gigs...

The Twin has an incredibly powerful sound, but the tube compression in the main amp kicks in at about 6 and that it the desired sound... so that's so loud, I'm only playing with ear plugs! Definetly not for quiet home use! If you want a good tube amp for your Rhodes and play at moderate volumes, try one of the smaller Fender amps with a 12" speaker, they all sound very good and the differend nuances aren't so important... I played amps of the HotRod series before I bought the Twin from a friend.

The Reussenzehn tube pre doesn't effect the sound that big, at least the Max Röhrig (the one I have). Most of the time, it's not active. But, I have to admit, that I have a modified JC-160: usually, there is no effect loop in this one, so I gave it to an amp doctor, who did a mod: mono send > stereo return. I don't know, if there is something similar in the current JC series. Otherwise, I couldn't use the stereo panning pedal (it's the Dunlop TS-1).

Hadn't the chance, to test the suitcase preamp, but in general, I'm fond of the Reussenzehn stuff. If you'll buy this one, you don't need nessecarrily a guitar amp, 'cause you could play directly from the preamp into the mixer. This would lead to a suitcase style sound including panning. AND it would be smaller and lighter to lug around just the Rhodes and the preamp.

Best regards
HammondToby

I keep the JC, because I have two Rhodes and sometimes I need the sound of the JC for some recordings. The fact, that it is a stereo amplifier is also important, so I can use the panning effect, known from the suitcase models. In the past, I lend a second Twin from a friend of mine, bit I definitely lug around too much heavy equipment, so the JC is the lighter and, sometimes, better choice soundwise... it depends on the sound, you want to achieve. It's alway good to have the choice between different characteristics. It's like the fact, that I have two Hammond C3s and a Hammond M3 or a 147, a 760pro and a 770 Leslie... each one for it's own purpose and sound.

Another advantage is, that I can have one Rhodes and the Twin in a rehearsal room (it's my live setup) and the other Rhodes and the JC at home. I admitt, I'm a collector :wink:

The Twin sounds very good, but has to be set to 5 or 6 in the main amp and in the preamp too... that's pritty loud, if you consider, that mine has 135 Watts all tube power. Solid state amps sound in any volume nearly the same, so I can play in moderate volumes at home and still can keep up with about 90% of the guitarplayers live.

Best regards
HammondToby

Hi Jordy,

I've got my TR now for about 5 years and the tubes are nearly as old. I played it a lot and lugged it to gigs. No problems so far (knock on wood). I've got ruby tubes in my Twin (6L6 in the main amp, 12AX7 in the pre amp). They sound good, they are reliable and they are there after 5 years of heavy use. Only thing, that happened was a blown fuse last week. Replaced it myself for about 1 Euro.

If it's the right amp for you, that's a desicion, noone can make for you, but I'm very happy with mine.

Best regards
HammondToby

My guess is: there are three potentiometers on the backside, to the right from the 9-pin-socket. From top: volume (over all), treble (top rotor), bass (bottom rotor). You have to use a screw driver to set them. I bet, the bass is cut off.

Another guess: a broken link between woofer and crossover, may be, you have to resolder it.

Worst case: broken crossover. If so, you have to replace it, this is not too hard to do, just a matter of soldering and tightening some screws. If you don't want to do it yourself, this could be done by any service guy, whos familiar with instruments or guitaramps (there should be someone around in your area). Leslies are not to hard to understand. But for a Hammond, I'd take a dedicated service.

Best regards
HammondToby

I don't know a tech in your area, it's a bit too far from germany, but some problems can be solved easily. So, what's up with your 760?

Best regards
HammondToby

Well, that might apply to Wurlys in America, but the situation in New Zealand and Europe is quite different. If you want to buy a Wurly in good condition in Europe, you'll pay about 800 to 1100 Euros (if you're lucky to find one at this price!), if you want to import a cheaper one from the US, you'll end up with the same price or even higher and I bet, it's not too much different in Australia or New Zealend.

Best regards
HammondToby

To be honest: it's not everything mine. The Moog, the S80 and the String Ensemble belong to a friend of mine and the Clavinet got destroyed after a gig by a falling PAR lamp. So, the Hammond and the Rhodes are left  :cry:

Yes, I do have a Twin Reverb, the second one is the one of a guitar player, that I can have, if he doesn't need it. But I tend to play mono most of the time: one thing less, I have to lug around.

My liveset consists of the Stage and my K2661, sometimes the Rhodes and a Hammond, especially on gigs, where I am the second keyboardist and play organ exclusively. I'm getting lazy  

Best regards
HammondToby

I had a Clavinet sitting on top of my MK II for a long time in studio, so it stayed there for about four or five years and I never had the feeling, that the top was damaged. I wouldn't try to use it as stand for a B3, but it can support a 88 key workstation without any problem, so the LittlePhatty or a MiniMoog isn't a problem.



Best regards
HammondToby

The JC-55 got two 8" speakers. they don't have enough low end, to support the bass registers of the Rhodes. I'd look for an JC-77 at least. Or an old Fender tube amp. It would be better to know a certain price range to give an useful tip.

Best regards
HammondToby

Hi,

I own a Nord Stage 88 and played a VK-8 in a rehearsalroom.

The VK-8 is more a Hammond clone than a Rhodes emulator. The pianosounds are OK, but not that good, especially on the waterfall keybed they are not too easy to play. The sound of the organ emulation is quite good, but the distortion is hart to use, 'cause it took me a long time, to get the sweet spot. Leslie simulation isn't the best.

The Nord on the other hand is very easy to use. The Rhodes are one of the best you'll find in a hardware keyboard. Personally, I like the Hammond and Leslie emulation of Clavia.

In the end, it's a choice of taste. I'd prefer the Nord any time over the Roland. If you go to my myspace site and listen to the song 'this is a call', you'll hear the Stage exclusively. On all other songs, the Rhodes (if it's there) is my MK II... Organ in 'wonderful tonight' is the Nord Electro.

Best regards
HammondToby

I never found better samplesets than the ones made by Scarbee. There are some cool software models out there, but most of the time, I'm drawn to the real thing in any case: Piano, Rhodes, Wurly, Hammond, analog synths... If I don't want to lug around the old beauties, I take the Nord Stage, but the Scarbees would be my choice for a notebook setup.

Best regards
HammondToby

Gratulations, Andi. Do you have any recordinggear with you? Just to give us some examples? And will you bring it to Germany? You could give it to me for free

Well, Mark, your list is quite complete. I think, I'm quite finished with it. Just the Suitcase, the Wurly and the Clavinet have to be found   Although I'd trade the Minimoog for a Memorymoog plus: six Minis in one machine, what could you ask more?

Best regards from Stuttgart
HammondToby

This morning, Joe Zawinul passed away in a hospital in Vienna. One of the greatest keyboardists and Rhodesplayers left us. May he rest in peace.

Best and sad regards
HammondToby

The usual price for an unmodded Twin Reverb in Europe is around 800 Euros (yes, american-built equipment IS pricier in Europe).

If you set the MXR to neutral , it shouldn't affect the sound. Otherwise, it's a more sophisticated method to control the sound, than the standart three-band-EQ of the amp. I've got similar JBL-speakers (Lansing is the older name of the company) and they sound great, although they are heavier. Personally, I don't need more high frequencies, and if you don't need them, don't use the tweeter. As far as I understand it, it's removable.

I'd say: test the amp with your MK II and if you find the sound pleasing, take it. You won't get a unmodded Twin (with 135 Watts) for THAT price in Europe, unless some friend of yours will sell his to you.

Best regards
HammondToby

Thanks, that would be a great help!

Best regards
HammondToby

I thought about getting one... the next thing would be a good compressor. Could you record some clips? Usually, on the EHX-site, there are just guitarclips.

Best regards
HammondToby

The Clavinet has that typical Stevie-Wonder-Superstition-sound.

Here is a good example of it, although it is no song, it shows the sound quite good: http://youtube.com/watch?v=TGrOAZ6r4Tc

Best regards
HammondToby

In the video it is a Rhodes, yes. But I bet, the record was done with a Wurly.

Best regards
HammondToby

There is a certain "presence" about a Rhodes or Hammond organ or Clavinet that just isn't there in the digital world.  I have found that tube preamps can help clones get closer, but they still miss the mark.

Well, a clone will never reach the original. That's a fact, we all agree, 'cause otherwise we wouldn't meet in a forum dedicated to an 'outdated' instrument :wink:

The clones have the advantage of portability, felxibility and the fact, that only an expert could point out the differences in a mix... it doesn't matter, if it's live or in studio. To me, the clone is a tool to make music, the Piano, Rhodes, Hammond, Clavinet, Wurly etc. are real instruments, that I eventually don't want to lug to a gig, because of wight, sensibility, space needed on the stage... There are many reasons to buy a clone and there are many reasons to play the original instrument, it all depends on habits, strength, stubbornness and the size of the car.

If I'm playing a big gig, I don't mind the moaning of the other musicians and take my vintage gear with me. If it's in a small jazz club down a flight of winding stairs, I'll bring the Nord, take the bus to the gig and have two or three beers more after the show  

Best regards
HammondToby

In the last few weeks, I played an all-vintage-setup: Rhodes, B3 and K2661 (OK, this one is not vintage)... Usually, I do comping on the Rhodes and soloing in the B3 (or the clone... in my case a Nord Stage), so the organ is sitting on the right side and the Rhodes on the left side. But I stay out of the bassregisters most of the time, except palmgliss or the like, 'cause I don't want to interfere with the bassplayer.

If you want to go with the XK-3, think about the additional XLK-3 keyboard. I know, that Hammond-Suzuki is always pricy, but in this case, you'd have another waterfallkeyboard with 61 keys and the matching design. On the other hand: this would make it necessary, to set all things up over corner.

Best regards
HammondToby

I don't own one, but a friend of mine has a CP70 that I played extensively. The keybed is like the one of a grand piano, very defined, the right wight... Without amplification, it sounds like a piano under a blanket, with amplification it sounds wonderful. No comparison to any sample I ever played. It's like the difference between Rhodes and a very good sampleset, you'll know, when you sit in front of the real thing.

Can't give you any recommendations or tips for the purchase, but if I had the opportunity to buy one, I'd do it.

Best regards
HammondToby

In the archive, there is a similar thread with some contributions from some users. Click here to get there.

Best regards
HammondToby

Hm, I play the Wurlysounds of my Stage quite often (more than the Rhodessamples btw.) and I like it so far. Played a short time on a real Wurly but this was a while ago, so I don't have the feeling of the Wurly in my fingers anymore.

Clav is good, but the notetrigger on a real one is faster! (at least of the Clavinet, I played on).

Orgens. Well... I use them often, but I can't find a clone, that's sound even comes close to a real Hammond. And as I play organ the most time of the gig (most of the time, there is another keyboarplayer), I focus on them and I lug either the C3 or a chopped B3 around.

But, to me, the Stage or the Electro, is still the best all-in-one-package. AND: it's the lightest one too.

Best regards
HammondToby

In a Live scenario (unless you're playing solo, with a perfect PA and a quiet audience), probably no one would be able to tell the difference between the real thing or a sampled version. Correct me if I'm wrong.
I'm thinking of getting a Rhodes too, instead of a digital version, but I'm also concerned about the weight.

I'm not quite your oppinion. The Clavias sound very good, that's the reason, I have a Stage and the major part of the audience might not hear the difference, but what makes the difference is not just the sound of the real thing with all it's little shortcommings, but the feeling of the player in front of this beast. In front of the Rhodes, I play different and it is this difference, the audience hears. Same applies for Hammond, Clavinet, synthesizer emulations...

On the other hand, the Stage has definitely its advantages: light, compared to the real things; no maintainance, versatile (not just one sound per instrument), and, IMHO, the best choise for these sounds anyway.

Best regards
HammondToby

Most of the time, I record my Rhodes through a miced amp:

Twin Reverb or Jazz Chorus with some effects between board and amp. As far as I have the choice of microphones, I prefer Sennheiser MD441 or Schoeps CMC 4 with MK 4 capsules going into Digidesignpreamps.

If the two mics on the Twin (one on each speaker) are set up propperly and you spread their signals (not to wide) in the pan, you can get a quite nice, wide sound with a slight phasedifference between the signals... Never got the time, to set the mics THAT exact, that there is no phaseshift, but if it's small enough, it sounds very pleasing.

If I use the JC-160, I use it for stereochorussounds only, so I have to pan it anyway. So the micsetup is the same.

Best regards
HammondToby

I bought my two Rhodes from garage sales and payed about 300 Euro for both together... spend 200 for some repairs and they sound very good... both in their way ofcourse.

If you buy a stage model, you have to keep in mind, that you'll need an amp for it, 'cause it will never sound right, if you feed it directly into the input of a mixer. This is my experience at least. So you're probably in the same pricerange of the Electro.

I play the Nord stuff a lot and like it so far, but, as the other posters stated before, no digital simulation will EVER capture the sound of a real working instrument. Same is true for Piano, Hammond, Clavinet... you could extend this list forever. But the Nords are convenient: ever thought to take the bus to the gig and drink more than one beer? That's, what they are good for ;-)

I wouldn't be so focused on the MK I. I thought too, that they are the only good sounding Rhodes, but I came to my MK IIs and they sound both very good. They are from the early production line, so they are (mechanically) like late MK Is with the flat top, that'y the only difference. And you can adjust the sound yourself...

By the way: with the propper technique, you can ecen lug around a Hammond C3 alone, if there aren't stairs to come over!

A sound examples of my gig-MK-II is on my   myspace-site the first song, using the following signal path: Rhodes MK II > MXR Phase 100 > Twin Reverb

Best regards
HammondToby

The old JC-120 and my JC-160 have two different outputs:

- Line Out: this one is directly after the preamp and before the chorus, it's mono and carries, as it's labeled, a line signal.

- External Speaker: this one carries the fully amplified signal and there are two jacks, so this one is in stereo. I never hooked up another speaker or a device to bring the signal to linelevel, so I don't know if it will work with recordingequipment, but I would strongly recommend, not to feed a standart line level input this this signal without any resistors in betweet, 'cause it might blow your recordinggear.

I don't know the new JC-120, but as far as I see it, the JC-60 is identical to the old JC-120, except that it is in mono! No stereochorus here!

Best regards
HammondToby

Adrian is right, the JC-160 has 4x10" speakers. It has a better low end, 'cause of the greater over all speakersurface and has a faster attack, 'cause the speakers are smaller. I like the sound of it, it's dedicated to the more snappy, funky way of playing. If you have any further questions, you're welcome to ask.

Best regards
HammondToby

And as i read on a review, it works very well with "E-Piano"...so i think that it will works with my mono output Stage Piano too.

Sure it will work. It's a question of what you want. As far as I understand the manual, it's always a panningeffect, when you connect both outputs. I'm courious, what you'll say about it

So, what I wanted was the possibillity, to have achorus in stereo and the choice of tremolo or panning. But since there is no chorus with a stereo input (that's what maktes the effect, the chorus and the signalsplitting with a 90° phaseshift between the both channels), the tremolobox had to have one. So, the effectchain is alway in stereo after the chorus, if you want to play in stereo.

For liveuse, I stay mono most of the time, because many soundmen can handle monosignals much better then signals in stereo. And I have the Twin for the tremoloeffect, so i don't need an extrabox.

Best regards
HammondToby

Can we do a comparison with the TS-1 from Dunlop (mono-IN and stereo-OUT, with auto pan) ?

The TS-1 has a stereo-in, it's aTRS-jack. At the timt I bought it, it was the only 'tremolo' with a stereoinput and that was, what I needed, 'cause my effectchain is:

MXR Phase 100 > Boss CE-1 > Dunlop TS-1 > Boss DD-6

and it's in stereo from the chorus onwards, so I can have the stereochorus AND the panning (or tremolo) from the TS-1. At the moment, there is a digitecheffectbox, that is a tremolo/panning with stereinput. A friend of mine uses it (guitar player) and I tried it, sounds good.

Best regards
HammondToby

I need something better than a 15 watt guitar amp.

Hm, thought about a small Jazzchorus? They're not too expencive AFAIK. A JC-80, JC-77 or JC-50 should do the job... Or you save up your money, till you can afford a Twin or something in this league.

Best regards
HammondToby

May be it's not the amp, but the speaker. If it's a 10"-speaker, it might not get enough lowend. Have you tried to hook up another speaker?

Best regards
HammondToby

I'm guessing that wasn't you  :wink:

Well, it's not me in person, that's right... it's my girlfriend and it was her first studiosession. There are two cuts within the leadvocals into the bridge and out of the bridge, cause this was a better take. The rest is the second or third one (I can't really remember) and some overdubs in the endpart... that's it. took about 3 hours ;-) Band is played live in studio (except the organ and the second guitar).

Best regards
HammondToby

So, here's a full song played with my Rhodes MK II > MXR Phase 100 (in the bridge) > Twin Reverb and a Hammond M3 > Leslie 760. Well, I think, you can't really judge the Rhodes, 'cause it's all mixed (but not edited btw.). It's the first song on my myspace profile and it's a Princecover 'How come you don't call me anymore':

http://www.myspace.com/hammondtoby

Best regards
HammondToby

Hi,

there are two versions of Twin Reverbs. The silverface- and the blackfaceversion.

The silverface stays clear, unless you set the inputgain and the mastervolume (if it has one) to 8 and higher and even then, it's just a little dirt and not completly distorted.

The blackface (or a silverface with blackface mod) is ment to break up quite early, at about 4 on the inputgain.

I've got a Twin Reverb Silverface from the late 70ies and I don't have any problems with it. I usually set the inputgain to about 4 and the mastervolume to 10, 'cause I need the mainamptubes to do the compression, and then mic it and feed the PA with the microphone, placing the amp as a monitor for me and not radiating into the audiance. I could avoid the mic and play only through the Twin, but it's to loud, even with custom earplugs.

So: the two 12" are quite enough, 15" would probably react to slow for funky stuff. May be, your amp has a blackface modification, so it breaks up earlier. Di you have it from a guitarplayer, or a Rhodes-guy?

Best regards
HammondToby

I talked a long time to the developers of the Zarenbourg. Obviousely, the two units were prototypes (with different keybeds btw.) and, soundwise, without the emulation of the attack of the sound. The only reason, they showed it, was to gather information/oppinions on it.

Depending on the final sound, I'd like to test it in a livesituation, 'cause it has, like the stage, not only Rhodes, but Wurly and CP-70-emulations inside. Right, there are tiny frontspeakers, but there is a subwoofersystem integrated into the cabinet and there is a stereoinput for external soundsources.

I've got the Nord Stage but I'd like to test this thing out. Possibly, because it's from a manufacturer, that had problems in the past an is trying to restart...

Best regards
HammondToby