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The question is, which sound do you prefer.
For my money, since no two Rhodes really sound the same, the difference is an advantage, as it gives you distinct tonal options.

Hello Cece,

As it is with most posts such as yours, vids and pics are a great aid for anyone trying to help with your issue.  They go a long way toward understanding diagnostic descriptions as "hollow", "empty" or "thin", which are so subjective.

The pedal on a Rhodes is part of a simple mechanical damping system, and isn't so complex that its problems can hide.   
Do you have a Stage Model, with the separate aluminum pedal and telescopic steel rod, or a Suitcase Model, where the pedal sticks out of the box housing the speakers.

Again, any vid of your problem in action would be very helpful.

That piano looks clean!
Nicely done.

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

I've had good luck putting a clip board in the gap on the name rail.  The ciip holds the page upright, and gravity keeps the board in the gap.
Not great for page turning, but fine for holding up the chart of whatever tune I'm currently working on.
Thought about drilling out the rivet on the clip and mounting it to a larger piece of plexiglass or 1/8" wood... Another project to do during the corona quarantine.

C'mon guys, let's not sink into didactic pronouncements about the "best year" for the Rhodes. 

Sure you can argue Raymacs vs. Torringtons or even Singer vs. Shchaller.  You can go on and on about Jordan vs. Janus vs. Peterson etc.  You might have a preference for solid keys over Pratt Reads.  Wood vs. plastic hammers, or felt on the key ped vs. on the back of the hammer cam... Balderdash!

As anyone can tell you, in all things, what's "best" shall only be determined by the way it looks.

So, Mk I wins it, hands down... (TA-DA!)

Though, it sure doesn't hurt that most have Torringtons, wood hammers and a Peterson.

Super cool.   
Love the physical vibrato.

  The only purpose I could find was that it made a great nest for the mice that were living in there.  #AudioTricks haha.

Maybe his strings were cold?

I'll be interested to hear more details.
I take it the Clav has no serial numbers or production dates on it?

I don't think it's uncommon to have drifting or slightly rising pitch on the longest tines.
You may have to settle somewhat, because I don't know if there's a solution outside of swapping them out. 
There are more tech oriented folks on this site with better information, but just thinking about it, perhaps you might try shifting them over to the next note?   
Perhaps changing the tuning springs to multiples of smaller ones might help? Then again, someone here might say that affects the overtones or something.

However, I do know that the sound of a tine unamplified may sound quite different from what you get at volume.  Are you experiencing sharp or rising notes when you're plugged in?

If you plan on keeping the Student Model, you may want to look into designing and making a pedastal base. 
The T-nuts are there, waiting for something to be attached.  Then you'd be able to attach some kind of damper pedal.
I look at butchered Rhodes pianos as a great opportunity to personalize with some custom work.
The only thing holding me back on a couple projects is finances...
Best,
Ray

Have you considered just running a long cable to a remote speaker in an area free of pedal noise? That would take care of your recording issues.

I get that the KMC-1 has spatial limitations, but it is a more rare piece in the Rhodes history. Perhaps you'd do better off just selling the unit, and getting a Stage.  Heck, get a beater Stage, and resto-mod it to your personal taste.

I think it'd be a shame to chop up this piano.  As far as chopping it the way the "big boys" chop Wurli 206s, I will say the 206 seems a lot more in supply than KMC-1s.

None of my student models have a factory bump, but I do have a sparkle top that has a metal clip with a factory bump that clips on the on the key ped.
I'll try to get a photo.

I'm pretty sure I've seen one in the past.  It looks like a large drum tuning key, but has a slightly oval shaped slot for putting over the pin.
Have you tried a piano supply store?

I understand, but the factory function is the same.
Are you unhappy with the action you're getting?

From the appearances, the pedestal already has a bump on it, no?

You may want to consider going to a metal fabrication/machine shop.  You'd be amazed at what they can do.
I had a local shop recreate the metal base from a '64 era Gold Sparkle student model like (like the picture), with the chrome support legs and everything.
That small hinged metal lever from a Sparkle Top would be a piece of cake for any decent shop.

Umma...
The top date stamp is when the harp was completed, or stamped by an outside supplier called Turbojet, often indicated by the letters TBJ in the later models.
The lower date stamp was done at Fender to indicate the completion of the piano.
Welcome to the group.
Ray

I might have advised them not to make the top rounded like the Mk I, but it seems I'm too late.

You may not want to use sand paper.  Depending on the era of piano, you may do damage to any protective finish/plating (zinc?) that's on there. 
Perhaps there's a metal polish/cleaner that can do the trick?

I suspect you may have started out with a tine that was already clipped shorter than what may have been on that tone bar.  Perhaps a previous owner broke a tine and replaced it with shorter tine from nearby or their stash.   When the tine is too short, and thereby sharper than needed, placing a heavier spring, or multiple small springs was a simple way to slow that tine down and lower its pitch.   Probably changes the timbre as well, but that can be addressed through voicing.

Your spare tines, with the different taper, are most likely from a later era.  Just because the piano is a '72 (a GREAT year btw) doesn't mean your spares would be.  In fact, I don't know if I've ever seen one of those tine replacement sets from Fender on ebay that wasn't from 76-78 or beyond.    Maybe that's because all the early ones had more years to get used up... I dunno.   I know the whole point of the later tines and how they were swaged was supposed to make them last longer.  Maybe that's why there's so many of those kits still around.  Perhaps all the wouldbe early Torrington replacement sets have been used up, as by Fenders accounting, they were much more prone to snapping.
Ray

Has the outermost surface of the hammer tip rubber gotten hard and crystalized?
If so, you can get some more mileage and better tone by trimming the tip back to fresh, soft, rubber w/a razor.   
I suppose this may affect your escapement slightly, but I haven't had a problem with it.
Ray

I watched a couple videos.  The product looks good.
Might go well in one of my stage models.

Any Rhodes sightings in the movie?  Elton playing one while recording "Daniel", perhaps?
Probably not...

The other night I watched "Bad Times at the El Royale" and spotted a very interesting Seventy-Three Suitcase in the background of a scene in a recording studio.  I tried doing some freeze-frame analysis, but it was difficult to get a frame that had clear focus.  It looked like one of the Sparkle Top era pianos with a black harp cover.  I have one from '69, however, it almost looked like one of the really early ones that had tubular legs (64/65?), rather than the flat aluminum supports. The film is set in '69 or so, but it's hard to believe someone would have gotten that specific with the piano

I opened a Farfisa and found a dead chemist who'd been working on synthesizing a powerful mind-altering hallucinogenic compound.  Far out...

You may want to consider using very thin two-sided tape.  The quality stuff is very strong, and thin enough as to be unnoticeable.
Something like this...
https://www.uline.com/Product/Detail/S-17123/Double-Sided-Tapes/Double-Sided-Film-Tape-1-4-x-60-yds?pricode=WB0222&gadtype=pla&id=S-17123&gclid=EAIaIQobChMI2fit0Oqb4gIVhMBkCh1-DgphEAQYBSABEgJkjPD_BwE&gclsrc=aw.ds
Best,
Ray

I'd say, yes, the dampers are original, and no, your tips are not toast. 
From the photo it looks like there may be plenty of meat left on the square tips anyway. 
You may end up trimming them back with a blade, but from this angle they look totally serviceable. 
I think you're going to be really happy with this when you get it up and running.

Ben,
This is gonna look great when it's done.
Nice work.
Ray

I like the piano. Has a clean, tight sound and tone in all your registers, but...
Hate the vocals.
Sorry.  I'm just over this kind of singing.  Ugh.
There are so many female singers aping this style, and they're all overwrought and literally indistinguishable. 
I'm not talking just about youtubers, but professional singers with what I assume are record deals.  They all have the same melismatic overkill and breathy fry in their voice.  I'm not saying she doesn't have talent.  But she's rolling hard on the same gimmicky vocal style every other singer is playing with. 
Reminds me of the highly skilled but ultimately boring shred guitar players in late 80s metal.  They played their asses off, but so what?
I can't wait until the whole fad is burned and we can hear something that doesn't immediately make me reach for the radio dial
Maybe I shouldn't post this...

Welcome to the group. 
I've always liked the way that type of harp cover looks on the MK I pianos.
Nice to see Malcom again.
Ray

Patrick,
Yes, I think those clips were used until about 1972(?) to grasp the harp cover.  Some pianos need them, as the covers can warp and show a gap behind the rail. They can cause a bit of a struggle when replacing the cover.  As seen by later Rhodes, often the clips not needed, but I think they're cool to have if the piano came with them. 

Needless to say, the clips should only come in contact with the inside (unpainted?) region of the cover.  Since they increase the pressure and friction on the harp cover, you'll be even better served by putting some felt on the back of the rail where there's contact.

Does your name rail have wood on the base as well?

Ray

One more thing, here's a tip...
You may want to consider putting some thin, adhesive-backed felt behind your name rail, along the edges.  It will help keep your rail from scraping off the paint you've put on your harp cover.  I learned the hard way.
Best,
Ray

Next step might be snakeskin burgundy Tolex.  https://www.speakerbuildersupply.com/Python-snakeskin-pattern-tolex-in-burgundy-p/tpbu35.htm
or http://www.speakerbuildersupply.com/Wine-Taurus-leather-look-tolex-p/ttbu37.htm

Never been too crazy about snakeskin.  Probably because I've only ever seen it on an amps or pianos that showed years of use and abuse.  Tattered snakeskin, compared to tattered black tolex, always seems more... well, "tattered" and trashed.  It just reminds me of regrettable car mods in the hotrod world.

Were it me, I'd go for the leather look or solid color, but darker than your burgundy top, so it pops that much more.  The harp cover provides a great opportunity for some level of contrast.   Even something in a light tan/brown family would be nice with that burgundy. 

Check out the Cabernet Bronco in this link.
https://www.stagecraftgear.com/tolex-2/

I don't know if their prices are good, but it's nice looking tolex.

But you're not me, thank goodness.  So, I look forward to seeing your evolving piano.

Ray

Great color.  A complimentary tolex would really set it off.  You might have to get a cab to match as well!

It is a little wavy... I know when I had mine painted, the painter griped about all the work needed to get a smooth look, with moderate success.

Was your top wavy from the factory, (some were) or was it just gouged from years of use?

Ray

I've got a 206a as well.
Always thought some day that it'd be cool to put a stereo amp with trem like the Suitcase Rhodes.  Maybe even put larger speakers in there.

These look great!
But I'm a little concerned...  Are you sure that like the originals, they'll be able to slide around on a floor and thus lose connection to the piano? I mean, I'd hate to be in the middle of an intense and amazing solo wherein the pedal is supposed to slip away and ruin everything, but suddenly it stays where it's intended.

I suppose if you forgot something, it'd still be on your bench?

Did you have measurements from before you disassembled?
Based on the notorious quality control issues at Fender way back when, I suppose anything's possible.
How does it play?  Are you getting the clean strike and tone you want?

I love it. 
You gotta make the legs...
Then give the whole thing to me!

cinnamon,
It certainly seems reasonable that the difference in the thickness of the felt could be the reason you needed to remove some of the shim material.  But I'm not an expert on the geometry of the piano's action.

However, you mentioning of the .065" thickness of the bump triggered something in my brain.   That dimension is a common guitar fret wire thickness.  How impressive would it be to see someone taking the time and care to install polished and dressed nickel fret wire into the pedestal?  Totally overkill, but exactly the kind of hotrod overkill I love!

I think such a mod would look most impressive on a Rhodes made between late '75 and late '77 (or whenever it was that Fender went back to putting the felt on the pedestal) because the wire wouldn't have to be covered with felt.  You'd see the shiny fret snugly installed in the raw wood.   This is probably silly, but thinking about it, I'd bet a polished fret wire would be incrementally smoother action than a piece of plastic that probably gets micro abrasions over time.

But how cool would it look to have that level of craftsmanship on your piano?

That's it...  If I ever get one from that era, I'm doing it!

Does the '78 the dreaded "white tape" pickups?  I don't think so, but they are notorious for quitting on the job.

Where can I get one?
Or do I just need photoshop?

The pedal for a Stage model was cast aluminum, with rubber feet, and a plastic ring around the hole that push rod went through.
I don't know what kind of paper band you're talking about. 
A pic or two would be of much help.
Either way, should you need a new pedal, they can be had for $100-$125 or so.
There are plastic repros out there, but you may just want to get in touch with Custom Vintage Keyboards to get a new, very nice aluminum reproduction.
https://www.cvkeyboards.com/collections/accessories/products/fender-rhodes-rhodes-sustain-pedal-and-rod-set
Ray

The tine should run parallel and straight to the  tone bar.   If it is parallel, then the reason you may not be lining up properly with the magnet could be bent mounting screws on the tone bar. 

You can check by rotating the screw and looking for the front of the tine/tonebar to move left to right as you turn the screw.  A temp fix is to rotate the screw until the magnet and tine are properly positioned.  However this may not be optimal for voicing.  Best to get a straight replacement screw.  They're available from a few sources.  Don't just use some hardware store replacement. Proper screws have a non-threaded part of the shank that allows the screw to turn without distorting or compressing the tone bar grommet.

Are you sure they're bent? Is the tine hitting in the middle of the hammer tip, or near the edge? Any chance they're merely out of alignment? 

It seems odd and unlikely that the tines would be bent, as they're under an area that's kind of "protected" by the other metal and wood parts on the harp. Unless one were to take the harp off, there's not much that can bend a tine in a direct impact.

If the tine(s) look straight in and of themselves, you may need to loosen the cap screw that holds the tine to the tone bar, then simply realign so the tine is properly with the magnets on the pickups.

Now I'm wondering, are you hearing low output from keys with the "bent" tines? 
When you get the tines re-aligned, you may need to adjust the pickups and do a little re-voicing as well.
Ray

Yeah, I think moving the pickups too close to the tines kills tone because the magnetic pull of the pole pieces limits the natural travel of the tine.  That's how it is with guitar anyway.

When it comes to the classic bark of a Mk I, I suppose the hammers could have something to do with it, but the felt factor, whether hammers or cube/tips, was gone by late 70/early 71(?).  The bark that we've come to appreciate was certainly heard throughout the early to mid-70s, so it's reasonable to deduce it may be a function of the early pickups, or early tines, or the combination of both. 

With a '79 Rhodes, though still a Mk I, you don't have the Torrington tines that are often credited for some of that classic Rhodes sound.  I believe you have either Schaller or Singer tines, as found in the Mk II pianos, which to my ear were gradually brighter and less "woolly" than earlier pianos.

I don't know if this was a case of Fender trying to veer toward the increasingly popular sounds of Dyno'd pianos, or just some sort of bean counting budget issue, but the later Rhodes pianos sound tighter and brighter to me. 

That said, a lot of this stuff seems to be voodoo.  I'm sure there are MkII pianos with incredible bark.

Have you tried taking the signal straight from the harp?  I'm not savvy enough to know, but outside of pickup adjustments, I wonder if different caps in the tone circuit might get more bark?

Nice looking pianos.   Is that a Vintage Vibe sparkle harp cover, or did you do that yourself?
Ray

Have you tried the attachment tab, just below the dialog box?

I'm pretty sure Vintage Vibe sells them.

I think Vintage Vibe sells them for about fifty bucks.  Perhaps less.
Best of luck,
Ray

Yes, the cinch plug is the four pin, square plug that connects to the power supply.   They're notoriously sketchy.  I've seen replacements on ebay.  Many replace the cable and input with the newer, round, four-pin connecter as found on the Rhodes after (I believe, but I'm not certain) 1972.  However the control plate needs some modification to do this.

In general though, the "check all your connections" advice is certainly a good place to start.  Open the cabinet, and make sure the cables are properly seated, and have no corrosion present. Make sure your power is disconnected, of course.