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Dr. Mix has uploaded a video of his visit to the factory shop in Leeds. It gives a great overview of some of the hardware improvements and electronics.

https://youtu.be/42e5HuHLrsQ

Very cool. Amazing really, just so expensive! I hope they have enough business to keep going and scale things up.

I wondered how the weight would compare. I imagined it would be difficult to lose much weight whilst keeping the integrity of the original design, and this seems to be the case. The VV is better in this respect but is ugly IMO and I don't think sounds the same at all.

I was also expecting an artist spotlight. I assume they could've had anyone... Herbie and/or someone contemporary. Also some focus on the action/mechanism as this is the real selling point for a new model.

As for exchangeable parts with old models I don't know. I imagine most of it isn't exchangeable, including the tines but who knows. Really hope they can make this work, but the price would have to come down significantly for me to be in with a chance!

It looks and sounds amazing from what I can tell.

Very curious to see/know how the action is, a video on this would've been nice.

But it's very very very expensive. On that basis the market is going to be very narrow unfortunately; high end studios and global artists.

Not to say it's not worth it, I can only imagine the work and love that's gone into it. But it's out of reach for most work-a-day musos. We can (and will) dream.

I guess the 2nd hand market continues unaffected!

Hi, my MkI (1974) Rhodes has been in storage for about 3 years (unfortunately).

I now have space for it again and it mostly seems ok except that about 50% of the damper felts are not muting the tines. They do have grooves worn into them so I guess this is the problem?

I could bend the felts further to make contact with the tines but I might be pushing them too far. And I'm assuming the shims or anything like that isn't the issue (it was fine before).

Do I need to re-felt the dampers completely? Or at least on the problematic notes?

Thanks in advance!

Perfect, exactly what I needed... thanks for doing that! Good karma coming your way.

Hi, very specific request here!

I don't have access to my Rhodes Mk1 at the moment but I need to build a pedalboard that will fit under it.

Essentially I'm looking for the width and depth of the space on the left between the sustain pedal and the legs (ie on the left hand side) if that makes sense.

Appreciated! Thanks

What I meant was shielding is mostly used (e.g. in guitars or cables) where there is susceptability to EM/RF interference via airbourne, proximity or mains based signals. Whereas HF hiss is generally an inherent byproduct of cheap, old or inferior electronics and nothing to do with external interference. So shielding may not help at all (depending where its coming from). I'd wait until you've tried it to see if its noisy, then figure out what's causing the noise, then find a solution. Shielding is always easy to do after the event. There's a few software noise reduction options (izotope RX5), not sure about hardware. The best option is often to live with it as analog character

I don't know these units, but shielding is only really good for reducing EM/RF interference. The HF hiss associated with it could well be inherent in the electronics and won't be reduced by shielding. I'm sure someone with knowledge of these will be able to shed more light.

The VV pre-amp is designed for a Suitcase or for converting a Stage. I don't think you'll get any benefits in a Stage unless you're pairing it with a Janus or Satellite system (or custom similar).

Interesting.

Anyone tried these:

http://www.vintagevibe.com/collections/fender-rhodes-parts-electronics/products/fender-rhodes-stage-passive-electronics?variant=899455343

Any advantage over the stock pots? Or would it still be best to plug off harp RCA?

LOL 
Never realised that. Was it on the MK5 they set it right?

--Roy

I think that was the first commercially available one. I think it was changed before that on the MkIV prototype.

Well,  I have a 1978 Mark I Stage  88 and I swear when I rotate the bass boost knob clockwise from 1 to ten the tone becomes bassier, fatter, warmer, and a little louder.

There seems to be a lot of confusion about this... to clarify it will get bassier as you turn up the bass boost but only because you're returning it to its natural unaffected state. You havn't boosted the bass at all, you've returned it to it's natural unaffected state (position 10). The mistake seems to be people starting with it at 0 assuming it to be the neutral position then applying a "bass boost" to hear more bass. You're not! The 0 position is already fully bass cut so it seems as if you're adding bass but you're actually just returning it to neutral (10). I hope that makes sense!

I think the passive filter is something like a 12db shelf cut at about 100Hz? Can anyone confirm who knows about this?

The passive Rhodes tone controls are nasty. Muddy, and destroy the beautiful tone. Go direct from the harp rca.

Also very true. And to clarify with the above, taking the signal directly from the harp RCA socket will give you a raw signal which will (in theory) equate to both knobs being set at 10 (i.e. neutral/unaffected). In reality it will be a a bit warmer, louder and have more present highs. Just poor electronics! Anyone switched these out with something less crap?

However, the fact that Fender calls it a bass boost suggests that for many players, the full bass sound is too full and boomy, and filtering it a bit may therefore be considered more normal.

I think its more a case of bad labelling given that what is labelled the "Input" is actually an Output! It took them about 15 years to fix that one

You probably need to start a fresh thread for all this but...

I really like the tone of the note just want it a little louder without having to adjust the bass boost, is there a way I can do this by adjusting the pick ups?

You should start with the Bass Boost at 10 anyway, as this is the neutral position... it's actually a bass cut not a bass boost. Useful for rolling back if playing with a band/bass player or if you prefer it that way.

I have a peavey keyboard amp with an EQ on it but I'd rather the signal being sent by the piano have a little more low end on it so I'll try it and see how it goes!

The weak link and lack of bass is potentially your amp not the piano. You want to be careful making adjustments to the piano to compensate for the amp because if you then DI or play through a decent amp you will potentially have questionable results.

Ideally you set up the piano through a completely clean source first, then adjust the amp around that around that. If you're still not getting the right sound, the amp probably ain't cutting it.

Moving the pickups closer is fine and completely reversible but with a new refurb from a vendor, the setup *should* be ok.

Hi LDS,

Are you sure it's not wax? The factory used it to ease the screws into the harp but there's no need to use it now when you replace the screws.

Here's a photo from Shadetree Keys where Dave he re-applied wax on to the screws, but it's not necessary.

Always curious what the advantage was of this? If any?

Ok fair enough, then you get into studio requirements!

You won't be able to connect a reasonable mic directly to an iMac as it only has a mini-jack input. You will need a mic pre-amp and audio interface. You can buy these combined (with other useful features) very cheaply these days but if you're new to this stuff there's a learning curve.

Something like this (there are tons of other options): http://www.dv247.com/computer-hardware/presonus-audiobox-usb-portable-2x2-usb-recording-system--48498

Standard cheap guitar amp mic is a Sure SM57: http://www.dv247.com/microphones/shure-sm57-vocal-instrument-microphone--13247

And obviously an XLR cable and mic stand. This combo would get you low-pro level results if the amp sounds good. Or else you could DI the signal into the interface and use Logics amp sims (after you recorded).

Horses for courses really. I'd see how the piano is sounding when you get it and decide what you want to achieve. Something like the above would give you tons of options (including MIDI etc) but you might be going down a road you don't want to be down.

A lot of this depends on what Audio Interface you have (if any)? And if you like the sound the amp is giving you. Remember probably at least 25% of the tone of your Rhodes is shaped by the amp. Depends what you're trying to do as well.

I say this because an amp and the *speaker* form the character of the tone. The ideal situation is a suitcase or Fender Twin or keyboard/guitar amp, make it sound great in the room, then mic it up.

A Rhodes is an electric instrument just like a guitar so the character and your tone comes from how you shape it in the room you're playing. Equally Guitarists ALWAYS mic up their cabs, never take an output because you're bypassing the speaker... A very important stage!

I used to take an output from my Marshall amp when I didn't have the cabinet and it sounded AWFUL. Seriously awful. so now you need a mic too :-) if you're happy with the sound the Peacy gives you. It should be ok but I don't know the amp.

My understanding was the biggest complaints are that you can't play softly so much and that the dynamic range is reduced to just the louder dynamics. Maybe others with more experience of the conversion can clarify. I'm curious for my 1974...

Thanks for the replies guys, after lots of searching, looks like I'm getting a 1978 mk1 73 from doug at klassic keys, very excited to say the least. Referring to the Di box, will that amplify the signal at all? I'm still not sure wether I'd be better off running the rhodes through a guitar amp then using the headphone output to send the signal to my computer. Would this method effect the signal of the rhodes or would it be okay? I'm wanting to get the signal to my computer so it can go through my amp to my monitor reference speakers as I thought this would give the best representation of the actual sound.

Any help appreciated, thanks.

Did you get your piano?

For reference, your options for recording or monitoring are:

- DI box into mic input with gain on audio interface
- Preamp with gain into line input on audio interface
- Directly plug into gain controlled 'instrument/guitar level' input on audio interface
- Or via a guitar amp miked up (don't use headphone outs they sound terrible)

There is no need for pre-EQ as suggested, but any tonal shaping can take place in the DAW. You can then use amp sims if required. There are a ton of ways of doing this depending on your wants/needs but this is an outline.

What audio interface do you have for your computer? And what guitar amp, if any?

Based on these factors I can advise you on getting the best results...

This is not something I worry about the one or two times it's necessary.

True enough.

Same as David - do you have a square silver tonebar model from the 60s?

No no, '74 mki Stage.

I push the tone bar to one side and jam the nut driver down in there.

Right, is likely to wear/loosen the tone bar adjustment screw hole over time surely?

Volume adjustment is interesting too...

How do people work with the great paradox that you can't get to the pup adjustment bolt under the bass tone bars without unscrewing the tone bar?!?!

Interesting re. treble volumes as they're often bright and ear cringingly loud in my experience. There's an old practice/theory that you can calibrate audio mixes to the output of a Pink Noise signal (which decreases by 3db for every octave). I wonder how well a Rhodes would sound adjusted to this principle. Obviously you'd have to calibrate DI'd without an amp interfering.

Yes that is consistent with what I'm finding... Bass and Treble areas either sound right or wrong, wheras mid range seems more adjustable.

In the low range the tine is obviously moving a lot, so pup positioning is relative to this, and in the extreme highs it's all about sustain so there aren't always many options. Maybe also because tine/pup positioning rarely end up exactly parallel.

I've only had my Rhodes for a few weeks and previous tinkerings were limited but now I've spent a bit of time with it, I noticed when adjusting the tine and pickup positioning (timbre/tone not volume), the specific guidance in the manual about precise vertical positioning (1/16" - 1/32") doesn't exactly hold up.

It seems to me when adjusting the tine there is usually only one very specific position where it sounds 'right' (particularly in the bass) and this is often outside of the parameters of what the manual recommends. This is perhaps partly to do with the fact that in most Rhodes, nothing is exactly straight (especially tine/pickup alignment) or exactly where it should be, but also because every tine will oscillate in it's own unique way and the subsequent pickup positioning isn't a precise sceince. Therefore adjustment by ear seems to be the only way.

I realise this might be controversial but curious on others opinions/experience?

Interesting thread. I'm still geting used to my MK1 action and actually the key bounce seems pretty strong to me (perhaps more than other Rhodes I've played). It is a mid-'74 though. Weights had crossed my mind too but its already heavy enough (no miracle mod... Yet). The VV backcheck mod looks interesting but I don't think I could do it to my otherwise perfect condition instrument. Maybe if I had another later model. Something to live with and get used to?!

Cheers for the advice guys. Interesting to hear that about the UK market, could your reccomend anyone that sells on refurbished Rhodes' in the UK? I know theres Fender Rhodes UK who's based out of London, most of his stage pianos seem to be around the 1400 mark which is a little out of budget. Although I can see why it would be worth the extra coin to get something that had been properly checked over etc.

Sidreal, could you reccomend a decent DI box? and would I nead a 1/4 inch cable to xlr for something like that? I did wonder wether I'd be able to buy a guitar amp and just use the headphone output on that to take the signal to my computer.

Also try this guy, he may be able to help out (though collection will be a factor): http://www.huwrees.info/rhodesrepair/

Re. DI box, depends on your interface. If you have an instrument level gain control input you don't technically need one (but it's less preferable), just jack to jack and set the gain level.

Preferable is to use one of these http://www.orchid-electronics.co.uk/classic_DI.htm (as good as the Radials at a fraction of the price) into a decent preamp or mic input on your interface with a jack-to-jack one end and microphone cable the other.

Thanks, the Amazon one says 6mm 1/4" which is not accurate. I havea 6mm and it doesn't fit... 1/4" is 6.5mm!

Anyway I ordered the very expensive one from EP Service NL... annoying but solves the problem.

Thanks

I've just been through the same process as you but actually bought a Rhodes last week (in south west UK also).

Firstly regarding the amp, Logic has reasonable amp sims on a superficial level, but to be honest they're not even close to the real thing when you compare them side by side (I'm a guitarist). If you don't have the budget there may be (tube based?) pre-amps that will suffice, but at the least get yourself a DI box with instrument level gain boost. People do actually use raw Rhodes DI'd in pro recordings so it's not out of the question, it certainly sounds better than a guitar does without an amp.

From all my looking lately (and I did a lot!) £1000 could get you a reasonable Rhodes, but you'll have to wait and make very careful decisions. The market here seems to be a mess, I've seen reasonable Rhodes sell for £750 and crap ones sell for £1,200. Most people here don't seem to know what they're doing. Most sellers don't even know what year their model was made let alone anything useful.

Whilst appearance and condition can tell you a lot about how well a Rhodes has been looked after, it doesn't tell you anything about how it plays or functions mechanically/electronically. Here again, you will often be met with either "it plays fine to me" or "I don't know it hasn't been touched for 5/10/20 years". None of which are ideal! The one you listed is a case in point, the fact it hasn't been touched and is in slightly rough condition internally means it will probably need a fair bit of work.

If you want to undertake this yourself, be prepared to spend a lot of time and still need a decent budget (could be anything from £100 to £400 on something like that, depends how far you want to go).

Because like you I couldn't get to London to try things out, I spoke to some of the restoration guys around the UK and eventually found the perfect piano for me. I paid more for it, but it was worth it and avoided a lot of the hassle. It all depends how much time you're willing to wait and/or invest in the instrument at the end of the day.

Hi, I'm trying to find a socket to fit the pickup adjustment with no luck.

The sizes in the UK are generally in millimetres and whilst I have 4, 5, 6, 7, 8, 9mm etc (the 8mm fits the tine/bar adjestment head ok), the pickup head seems to want 6.5mm (i.e. 1/4"). Trouble is I can't find these in the UK at all!

Imperial/metric bummer!!! Any solutions out there?!

Thanks for the photos and further info. Doesn't look/sound as severe as I thought. Look forward to trying this out.

Thanks Alan, helpful observations. They are talked about in negative light in some documentation. It's all subjective but some things are more subjective than others!

Also, is there consensus on these pages if the early piano mk1s can be set up (professionally) with great action without the miracle mod?

Will check back tomorrow, cheers.

Thanks, I have Googled it but not getting results!!!

Thanks for the info, but I really don't have much experience with those early models so not sure what the difference is... Would be good to see/know before I try it out :-)

Hi, I'm looking to buy my first Rhodes (mk1 stage 73). I have a bit of experience with them (mainly late 70s models) and have been reading up a lot so I'm aware of the general do's and dont's.

Because I'm more a fan of the growlier tone rather than the more celeste-like later models, I'd prefer a pre-1975 model. One option on the table is an original 1973 with some refurb options.

My main question is what are the potential 'plastic skirted key caps' issues referring to? Is it a matter of taste? Does anyone have photos of the differences between these and post-74?

Thanks, sidx