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The tone of the whole piano is subject to personal preference, so if you like the other sections already I would leave it the way it is.

One of the worst mistakes I made with a Rhodes was changing things just because I thought that's what I was supposed to do. I picked up a 1971 that had been stored for 20+ years and it still sounded fantastic but I thought that it could sound even better if I took it to a specialist that would obviously make it sound better right? WRONG! After spending $$$ getting all new hammer tips, grommets, and getting it re-voiced, it sounded terrible (to my ears at least). I spent countless hours trying to re-voice it back to where it was before the work but I was never able to and I ended up selling it because of it.

Moral of the story: Only fix what you currently dislike and don't mess around with the other (mechanical) parts unless you would be comfortable not getting them to sound that way again.

Hope this helps!

Hi Jerome,

That c# is typically where a harder range of hammer tips starts on the Rhodes. If those are an older set, they likely will be harder than usual which would cause the excessive percussive sound. If you're happy with all the rest of the notes, you could probably just buy a dozen or so new tips for that section and that would probably fix most of the issue. https://cdn.shopify.com/s/files/1/0666/2821/files/Vintage_Vibe_Hamer_Tip_Guide_Placement_4ffdd7a5-b86b-4b5e-9b38-84e14f4ddf54.jpg?3389212589356662533

If you want to try a quicker/cheaper fix beforehand, you could also try moving those notes further away from their pickups and/or adjusting them to be closer to the "pure fundamental" voicing (see link below) and see if that gets rid of most of the problem being amplified.
https://www.fenderrhodes.com/org/manual/fig4-8.gif

Hope this helps!

I'd probably go the glue/repair route myself just for the originality aspect alone. Even if you find a period correct replacement, it still might require modification as each keyset was cut/modified to fit each keybed even on the Mk1s.

Alternatively, you could also see if a local piano tech has anything they could modify to work as well.

The sparkle tops and early Mk1s have longer magnets than later Rhodes so they won't be able to be as close to the tines without messing with the pitch/distortion.

What's wrong with the key cap? It looks like they're all intact from the photos.

The only other photos I've seen of one online do refer to it as a "Piano Celeste" to differentiate from the "regular" Celeste that didn't have an amp. Scroll to the bottom of this page for photos: https://www.fenderrhodes.com/pianos/silvertop.html

The audio sounds really good so if the action is playable then I probably wouldn't mess with it too much. However with that being said, here is a link to a YouTube channel that has a few videos documenting their work and modifications on a similar 64 sparkle top: https://www.youtube.com/@InsectoidControl/videos

Also, Maybe try reaching out to the folks at Vintage Vibe if you have any other questions that can't be answered here. They would be the most likely to have worked on similar pianos and have parts should you need any. They also occasionally have the correct hammer sets for sparkle tops as well. You would probably have to place a special order for only 49 though: https://www.vintagevibe.com/products/fender-rhodes-felt-teardrop-hammers?variant=899457275

Please keep us updated on the progress!

This is an old thread, but wondering how this restore went.  I have a similar piano with similar issues and trying to decide what to do about these hammers.  The piano I just purchased is an all-original, and fully functioning Piano "Celeste", 49 Key. It has a pedestal bump, and a Jordan preamp, and it's in very nice shape cosmetically, but the action is not great.  The previous owner's dad was a producer at Colombia Records in LA in the 60s, and apparently Leo Fender gifted this to him.  It was then immediately given to his 12 year old son, who has had it ever since, and I don't think he ever lifted the lid. 

Sounds like a really cool piano! Please post a few photos or a video of it if possible. Hardly any footage exists of these online.

Hi Matt,

Welcome to the forum! To answer a few of your questions:

All Rhodes are basically electric guitars but the older suitcase Rhodes (and your Mk8) are like a guitar that has an amp head (the preamp) built into it.

Generally you would use a keyboard amp/PA system/studio monitors when using the preamp as you just need a power amp from that point to amplify the signal (if not using headphones).

If you want to use your JC-40 or any guitar amp, you want to bypass the Rhodes preamp and just take the signal from the harp (the same way you would just plug a guitar straight into the amp). To do this, plug your Rhodes into the amp from the "Accessory send" jack on the Rhodes and it should work fine. (However, if you play like this then you will not be able to use any of the adjustments on the Rhodes Preamp as you are taking the signal from the Rhodes before it gets to them.)

You shouldn't have any reason to replace the MK8 preamp (and I don't believe there are any drop in replacements for it anyway). People replace the older Rhodes suitcase preamps all the time but that is because they are a lot more limited in their abilities and many do not work anymore due to age.

In your situation, many owners might have 2 different setups depending on the sound they want. The first might be something like Rhodes>Rhodes preamp>studio monitors and the second (to make use of their guitar amps) would be Rhodes>accessory send>guitar amp.

Either one is perfectly fine on its own but only the first option allows you to make use of the stereo pan effect (unless you have two guitar amps running at the same time).


As far as amp guides go, you should treat the Rhodes going through its Preamp the same way you would treat any digital 73 keyboard in terms of speaker size and dynamic range. If you are going the guitar/bass amp route then focus on amps you would be comfortable plugging a bass into (as that is essentially what the lower end of the Rhodes is). As an example, the Fender twin reverb is usually thought of as a good amp for the Rhodes. There are also lots of posts here on the forum of people talking about other amps they like as well.

Here's a good place to get an overview on the history of the Rhodes: https://www.fenderrhodes.com

Also, not sure if you have this yet but here is a link to the MK8 user manual: https://rhodesmusic.com/wp-content/uploads/2025/03/MK8-User-Guide-With-MIDI-Parameters.pdf

Hope this helps!

If memory serves, I believe one of (or only?) their functions is to be the ledge that the lid rests on.

wow... i didnt know there were two variations of slanted keys! thanks.

looking at a few of them.... there is a very slight curve in them, not sure if thats just from use or if it is intentional. wouldnt be surprised if they were marcel though. i did have to sand to remove the old glue but i only used 220, and just enought to remove the old glue/felt remnants.
You cannot view this attachment.

Those look like the Marcel to me. The miracle mod essentially replicates the curve that those already have from the factory. You could still technically put the mod on anyway to make the key feel even lighter but the general consensus on the forum over the years is that the Marcel pedestals don't really need it.

It's hard to tell from the photos but based on the build date of your piano, there's a chance that your keys have the marcel pedestals that don't require the miracle mod.

See here for a picture of what the Marcel looks like: https://www.vintagevibe.com/products/fender-rhodes-key-curved-marcel-pedestal

See here for what the regular slanted pedestal looks like: https://www.vintagevibe.com/products/fender-rhodes-keys-vintage-slanted-pedestal

Also, if you do have the regular slanted pedestal it is still possible to add the miracle mod.

I'd probably use $2,500 as a rough starting point. The top key being dead means it likely hasn't be serviced recently (even if it still sounds good) and will hurt the value somewhat.

Seems like there's been a bit of a slowdown in the Rhodes market recently. If there are a lot available in Austin (CL, OfferUp, FB Marketplace) then you'll probably have more negotiating room on this one.


Also, whether it has the lid, factory paperwork, optional vinyl cover, leg braces, original or reproduction pedal, and the condition of the chrome hardware and legs will all be factors you can use to add or subtract from the price as well.

Suitcase or stage? Condition of the tolex? Location?

All of the above will affect the value. I'd use recent similar comps on Reverb's sold listings as a starting point and then either add or subtract 15-20% depending on if you are in an urban/rural area or outside the US.

A few people have done similar builds using the Reface CP as a foundation. https://www.youtube.com/watch?v=GpszobjzsaU&t=158s

I would love to see a hardware version of Keyscape too, but I don't know of anyone that's done it.

If you're already budgeting for a fully restored piano, I would strongly recommend looking at one of the new Vintage Vibe Pianos with variable voice control. A new VV will have a better action than any vintage Rhodes and the tone shaping abilities of the variable voice control should allow you to emulate just about any Rhodes sound other than the sparkletops.

https://vintagevibepiano.com/vibe-variable-voice-control/

https://www.youtube.com/watch?v=eT2wvfd79B8

Hope this helps!

Not sure about the specific case thicknesses but if I were in your position, I would probably buy a thick piece of wood/plywood, stain it/paint it/wrap it in tolex, mount all the stage hardware onto that, drill a hole for the pedal rod, and then put your suitcase on top of it.

That way you'll be at an even lower risk of bowing, it will be easier to set up and break down than a traditional stage, and you leave it unmodified so that if you ever find a used suitcase bottom (which do come up for sale occasionally) you can easily swap between the two.

I'm not an expert on these later MkIIs but I do know that the plastic pins on these are known for breaking easily and that replacements are very difficult to find. Because of this, I would caution against the stage conversion as that could lead to bowing in the middle of the case that might crack the plastic.

I believe the original design comprised of tolex straps that snapped shut. These days most restorations seem to use the same style of latches used on the outside of the case.

Vintage Vibe sells some but they're currently out of stock: https://www.vintagevibe.com/products/fender-rhodes-lid-compartment-latches?variant=30093026572

Just because your pickups don't have "white tape" doesn't mean they don't have the same flaws as those that do. In 1979 Rhodes switched over to the pickup design that became the "White tape" but they didn't actually put the tape on them till about 1980. See here for the TBJ harp codes that coincide with the change: https://ep-forum.com/smf/index.php?topic=8695.msg46558#msg46558

When searching the forum for additional resources, I would treat any info on "white tape" pickups to be relevant to both of your pianos.

The MK8 has a more refined version of the original Rhodes action but it is still essentially the same design as the originals. See here for an overview of what that entails: https://www.fenderrhodes.com/img/models/mark5/stage73-action.jpg

A hammer action would be closer to the feel of a Rhodes than a waterfall style keyboard but that doesn't necessarily mean it's better. Unlike on a Clavinet or Hammond, the Rhodes key feel has nearly always been thought to be the weak point in the playing experience (save for a few key years or pianos that have been modified).

A lightweight waterfall action might make more sense if you prefer quick runs/solos in your playing whereas the hammer action would probably be better if you need more control over the dynamics for chords.

Hope this helps!

[stock]

The feel of Rhodes actions changed a lot over the years so the model year Rhodes you try will definitely have a big impact on how good it feels.

1977 was not a good year for key action as the keys didn't have a bump pedestal then. You can always have the "miracle mod" done to it to make it better though. (This goes for all 1972-1977 Rhodes).

As far as stock key feel goes, I'd look for a 1978-81 Rhodes with the wood keys and built in bump pedestals. 1969-1971 pianos with the marcel pedestal are also good but those usually have "hollow" keys which some dislike.

All of which to say, I'd hold off on buying that piano for now. Try a few more first and try to wait for one that is either the right year or has had the work done to make it play well. They will never replicate the feeling of a U3 but they can definitely feel better than what you described.


With that being said, if money is no object, I would also highly recommend looking at either a new or used Vintage Vibe Piano. They will have a better key feel to 99% of vintage Rhodes while having just as good of a sound. The company has also been a great supporter of the community over the years and has the blessing of the Rhodes family due to the quality of work they do.

https://www.vintagevibepiano.com/landing/

https://www.vintagevibepiano.com/harold-rhodes-legacy/

Hope this helps!

InsectoidControl has a few videos on their channel going over some mods to improve a 1964 sparkletop. Might be worth a watch to see if they help you at all. https://www.youtube.com/@InsectoidControl/videos

Hi all,

It's finally time to sell my KMC Home Model. I've posted a bit about this Rhodes before but I'll describe below what makes it so special. If you're looking for the ultimate player's Rhodes this really is it.



This particular KMC Rhodes started its life in 1969 with the then brand new Peterson electronics including the stereo tremolo that suitcase Rhodes would later become famous for. It appears to have initially been set up for two 12" speakers but was quickly changed to its current setup of four 10" Oxford speakers (all of which date to 1969). Later in 1972 this Rhodes got a new harp for reasons unknown but it was almost certainly done at the factory as the harp was never affixed with the usual warranty gold foil label or finishing stamps. I purchased this Rhodes from the estate of a man that worked at CBS back in the day (Fender's owner at the time) which is why I believe it doesn't have those stamps as it was never intended to be sold to the public.

Together, all of those characteristics add up to the ultimate player's Rhodes. This Rhodes has the most desirable preamp, the best suitcase speaker setup for home/studio use, the best feeling solid wood keys, the most desirable "golden era" 1972 harp/tines, and the KMC body which provides a more stable structure than the traditional suitcases and stages. If you have been looking for a centerpiece to your keyboard collection, this is it.


Condition:
  - Mechanicals: Fully serviced in 2021 by Fender Rhodes LA, including the miracle mod, all-new grommets, key leveling, and tuning.

  - Electronics: All are the original 1969 components. They currently provide a wonderfully gritty "lofi" sound which is why I haven't had the heart to replace them yet. However, please note that they will eventually require maintenance or replacement in the future.

- Sound: This Rhodes is currently set up for a wide dynamic range going from a creamy mellow lofi to the classic snarly "bark" that golden era Mk1s are known for. The original electronics also help give it a bit of a distorted growl when played at higher volumes or when pushed using a boost/eq pedal.

- Sound demo:  https://youtu.be/FiVx0GR4ZWM

Personally I'd only go for it if you really love how it sounds currently a lot more than you love the sound of your 1A. Just because its "original" doesn't mean it sounds good and you might regret it if you give up a piano you love for one that will need considerable time and possibly $$$ to get sounding good.

With that being said, the neoprene will sound a bit different from felt but you can always swap out the neoprene hammer tips for some felt ones from Vintage Vibe in the future if you wanted to. (Also, I believe others have said previously that the neoprenes have the tendency to break raymac tines easier than felt but I'm not 100% sure.) https://www.vintagevibe.com/products/fender-rhodes-hammer-tip-kit?variant=4271276163

If the Miles/Beatles/Preston sound is only a small part of your Rhodes repertoire then it might make more sense to keep the 1A and just buy a plugin for the few times you want the sparkle sound.

Also, for what it's worth, I'm pretty sure the Beatles/Preston Rhodes was a 1969 sparkletop which would sound slightly different from a 1967 due to changes in the Raymacs and pickup magnets (and possibly electronics if it was one of the early Peterson preamp units).

As far as I know, the flat section of the Mk2 lid was designed to stack keyboards on.

They did offer a music stand for the Mk2 though. Not sure if it was an option or standard but in any case, many were lost over the years and only a few still have them today.

Hi Quincy,

Welcome to the forum!


Did you try adjusting the pickup or the voicing before removing the tine?

It could very well be a bad tine but you should make sure it isn't just a volume or voicing issue first.

The Super Satellite system probably is a 75, a 73 would have the "Fender Rhodes" badging.

I believe they used to sell conversion kits for existing stage pianos for the super satellite that included a new namerail which is probably what happened in that reverb listing and your own piano.

Basically that means that all of the mechanical stuff in your piano is from 1973 but the preamp, namerail and satellites are likely from 1975 or later.

Also, here's a link to the Vintage Vibe where you can buy a replacement Fender Rhodes logo for your namerail: https://www.vintagevibe.com/products/fender-rhodes-name-rail-logo

There should also be a big logo on the back of the piano as well: https://www.vintagevibe.com/products/fender-rhodes-large-rear-logo

These days, Vintage Vibe seems to just recommend the later "Bass cut" style rather than the treble cut yours would have had originally. They sell both the individual pots and a prewired set on their site.

Link to individual pots: https://www.vintagevibe.com/products/fender-rhodes-stage-pots?variant=899456031

Prewired: https://www.vintagevibe.com/products/fender-rhodes-stage-passive-electronics

Alternatively, you could also go with active electronics instead. Avion Studios makes an active preamp that fits in the 72 namerail. https://www.avionstudios.com/rhodes/retroflyer

Yes that would be the correct year. A 75 piano will have the Peterson electronics. I'd still recommend having an electronics specialist do the diagnosis but if you are set on doing it yourself then I'd recommend using the search function on the forum with terms like "Peterson" and "no sound" to read what others have done previously.

The two main US companies for the replacement parts are Vintage Vibe and Avion Studios. Avion also offers a mail in service for electronics repair that might be a good option for you as well. I had them rebuild my preamp and was very happy with the results.

Vintage Vibe link:https://www.vintagevibe.com/collections/fender-rhodes-electronics?page=1

Avion Studios link: https://www.avionstudios.com/rhodes?category=Rhodes+Electronics

First off, what year Rhodes do you have? They used Peterson electronics in the older models then switched to Janus electronics for the later ones. Any solutions will depend on which you have.

For the Peterson's, the three main failure points are the preamp, power amps, and power supply. Right now based on your description I'd start with the power supply. However, if you are not familiar with electronics then taking your Rhodes to a tech will likely be the best option. Additionally, even if it is only the power supply you will likely need to replace/repair your power amps and preamp soon anyway. The electronics in any Rhodes are at least 40+ years old at this point and they were not built to be around this long without replacement.

Vintage Vibe sells a reproduction of the original KMC music stand which fits what you're looking for.

https://www.vintagevibe.com/products/rhodes-walnut-music-rack?_pos=4&_psq=music+&_ss=e&_v=1.0&variant=39565429702839

Hi STE77EN,

I no longer have a 270, but from memory the metal nut is supposed to be attached to the rod loosely so that it can be tightened into the piano. It looks like yours is missing the bottom part of the nut that allowed it to clamp over the end piece of the rod while still being able to spin freely. (Note: this is why the top part of your rod has a worn spot near the top.)

To get it to work, you will need to rig something up that attaches to the piece of the nut you do have and that wraps loosely around the rod shaft without being able to be pulled off of the top.

I don't see anything wrong visually with the tape so probably not. If there is a lot of noise in the signal then you should start with cleaning/possibly replacing your RCA jack and go from there. Also I don't think you mentioned if you have active or passive electronics but both can add noise as well.

Your tonebar springs look fine. You might need to replace a few if any are rusty but they generally don't go bad otherwise. You could also buy some of the thicker bass ones from VV if some of your bass notes make a figure 8 on hard hits. https://www.vintagevibe.com/products/fender-rhodes-custom-tine-stabilizers

The tonebar clips are the treble note equivalent of the thicker VV bass springs. They are only used to help add sustain to certain tines that lack it. If you have notes that "die" quickly then you can buy a few or you could just replace those specific tines with new ones. Overall I wouldn't worry about them until the very end of this project as things like the grommets and hammer tips can lessen the need for them.

...but if your tines were angled slightly then the previous owner likely moved the pickups so that they would have the proper volume...

Why wouldn't they straighten the tines on the tonebar? I was planning on doing that in a few cases.

The tine and tonebar should ideally be parallel with each other. However even if they are, the bent screws can still lead to individual tonebars being at a slight angle compared to others.

You probably should straighten the ones on the tine that you were mentioning. Just remember that unless you replace the screws too, some of them will likely still be at an angle.


Also, based on your grommet picture they likely do need to be replaced sooner rather than later. If you've already gone this far its probably better to do them and the screws now.

[not the frame]

The first question is, how do you feel about the sound of your Rhodes right now? If your Rhodes sounds good to you, then there's no point in replacing anything. I made the mistake before of "fixing" a Rhodes that sounded great but looked horrible and I was never able to get it to sound good again even after spending $$$ at a reputable shop.

Regarding a few of your other questions:

- The pickups should be centered to the tines not the frame. Usually that's one and the same but if your tines were angled slightly then the previous owner likely moved the pickups so that they would have the proper volume. Also, there's no "standard" spacing. Your goal should be to make sure all the tines have the right volume and tone which is determined in part by where they sit in relation to the pickup.

-Same as above for the tonebars. If the note sounds good and doesn't "choke" then the visuals shouldn't matter. Unless your upside-down tonebar is a bass one then it shouldn't matter either.

- The tines shouldn't have pointed ends but if they sound fine then its probably not worth the hassle of squaring them off.

-There is no musical benefit to cleaning the corrosion on the tines, tonebars, springs, or harp frame.

The double springs in the bass were sometimes done at the factory to reduce the figure 8 tendency of certain bass tines. VV offers single thicker bass springs that have the same effect.

-The fact that some of the screws make the tine go left and right means that they are bent. This will make trying to adjust the volume/tone of each tine significantly harder. If you end up replacing your grommets then these will need to be replaced at the same time.

-You didn't mention the condition of your grommets but they are likely in need of replacing if they are the originals. They should have some "squish" when you squeeze them if they are still good. Old ones will be as hard as a rock and will have a negative effect on the sustain and tone of your piano. However, I'll repeat that if you like the sound of your Rhodes currently then don't mess with them unless you are willing to see the process all the way through. Sometimes it can be difficult (if not impossible) to replicate the sound you had before if you start replacing parts.

Hope this helps!

The KMCs were only built in the wood upright cases. Someone either put the KMC rail onto a Mk1 or they took the entire internals out of a KMC and put them into the Mk1 shell.

The Gold foil Rhodes logo on the bottom right side of the harp should say FR 7055 in the MOD section if it is a real KMC.

Ya, that Rhodes logo and the lid with the music rack are both from the KMC. If you post some additional photos of the rest of the Rhodes, we could confirm if they are the correct pieces for your specific one.

I believe 1976 is the only year that should have hammers with the felt on them. https://www.fenderrhodes.com/pianos/mark1b.html

I believe it decodes to the 3rd day of the 31st week of 1976.

Here's the relevant page with the breakdown: http://fenderrhodes.com/faq/how-old-is-my-rhodes-what-year-was-it-made.html

Hope this helps!

Welcome to the forum!

To answer a few of your questions: The dyno my piano preamp and the voicing setup that usually accompanied it is likely the main reason that your Rhodes doesn't sound like you expect it to. The voicing can be easily adjusted though. The "hypnotic" part of the "classic" Rhodes sound is from the tremolo effect in the suitcase models. However, you would need a second amp in order to make full use of the effect.
(As a side note, you should try plugging your Peavey in to the harp output in the top left corner of the harp and see if you get less distortion that way as opposed to running through the dyno preamp.)

The uneven damper notes can be easily corrected by a tech and the heavy feel of the keys can be lightened by performing the "miracle mod" on the key pedestals. However, just note that even with the mod, the Rhodes will never play as quick and light as a piano due to the inherent nature of the key design.


A couple of other tidbits:

-Your Rhodes is actually a 1972 which is considered one of the golden years for Rhodes production. The "33 72" in the top right corner decodes to the 33rd week of 1972 which is the date that the harp was finished.

-Your Rhodes also started its life as a student model. It originally had a single piece cabinet with a 10" speaker and a small amp with a built in metronome but none of the tone capabilities of the normal suitcases. That's probably why it got the Dyno upgrade back in the day. I can also say that I've ever seen another dyno'd student model so it's pretty rare from that perspective.

Here's an in depth look on what your keyboard would have looked and sounded like originally: https://chicagoelectricpiano.com/rhodes/rhodes-7055-student-model-an-in-depth-look/

Hope this helps!

Based on the picture you posted on the other thread, your knobs look like they are in pretty good condition. A little soap and water should clean the dirt off them fairly easily.

However, if you are referring to the pots themselves being worn out then there are a few options available.

1. You could buy the replacement passive electronics kit from VV: https://www.vintagevibe.com/products/fender-rhodes-stage-passive-electronics?variant=899455347

2. Or you could buy an active preamp instead. Avion studios sells one that will drop in with no additional modifications but you can buy others that require removing your faceplate but give extra capabilities.

Link to the Avion drop in pre amp: https://www.avionstudios.com/rhodes/retroflyer

Hope this helps!

And then comes my first question : I didn't notice it at first but the keyboard is not wooden made but plastic made as you can see on the pics below. Does it imply it has been replaced by a MarkII one or something like that at some point of its history ?
The seller forgot to mention it and as newbie as I am, I didn't check...

Welcome to the forum!

To answer your question, no the keys have not been replaced. 1973 Rhodes have what are called "hollow" key caps which is what yours has. Starting in 1974, Rhodes got traditional "all wood" keys like pianos and then the very last Mk2 Rhodes got all plastic keys that do not have any wood in them at all.

You can see the different key styles here on Vintage Vibe's key page: https://www.vintagevibe.com/collections/fender-rhodes-keys

There's also the chance that it will be a digital/analog hybrid that only uses Dexibell for the non Wurlitzer sounds. Otherwise I really can't see how anyone would think it a good idea to bring back the Wurlitzer name in a digital only keyboard.

If this is actually the case, then it would be the spiritual successor to the Rhodes Mk III rather than the MK-80.

The website added a new teaser photo and it now has a name... the Wurlitzer 250 D.

Looks like a similar footprint to the 200 series so hopefully it has some cross compatibility with the originals.

Hi Steveo,

Unfortunately I do not have my 270 anymore so no photos, but from memory I don't think your 270's rod was modified. Mine had a similar looking nut but there was also a 2"ish brass piece above it that spun freely that gave it the extra bit of length to connect to the piano.


On hard floors that extra piece meant you had to lower the adjustable foot under the pedal to get it in the slot and then raise the foot once it was connected. It seems like a prior owner might have skipped that step and broken yours off.

Sorry I can't be of more help.

Hi cece,

Yes it is true that the differences between the 79 and 80 are minimal. The only major difference would be that the 80 will likely have the "white tape" pickups that are known to have a higher failure rate although I believe some of the late 79s also have a version of the red pickups that fail at a similar rate.

The main thing you are noticing in the sound is the setup. (Nearly) every Rhodes can be setup to sound like the classic "fat and sweet" sound depending on the setup and hammer tips. If the MK1 already has the sound you want and is in good mechanical condition then I'd go for it. That being said, the 80 would also be able to achieve a similar sound with enough tinkering.


Also, the suitcase electronics between the 79 and 80 are completely identical 

Hope this helps!

Hi Matthew,

I'd give this restoration video from Vintage Vibe a try. I haven't watched this particular one myself but I have seen its 200 counterpart and it contained a lot of useful info that wasn't available in the free YouTube videos.

https://www.vintagevibe.com/products/wurlitzer-140b-restoration-video

Hope this helps!

Just came across a current Reverb ad for another early KMC Home piano. This one is just 2 serial numbers away from the one in my prior post and it has a lot of additional photos that confirm most of the details on the prior unit weren't just one offs and it also confirms some of my prior hypotheses as well.

The biggest one is the fact that these particular 1971 KMC Home pianos have TUBE AMPS! It seems like for this particular run of KMC Home models, Fender opted for what looks like a Fender bassman style preamp with volume, treble, and bass controls, two Utah speakers, and some form of 50W tube amp. (I think this might be based on a Bassman 50 as that was an amp that Fender sold in 1971 but I am not familiar with Fender's tube amp layouts so if anyone knows what amp this looks like, please comment below.)

As far as I know, the only tube amp Rhodes were the really early 1964/65 73 sparkletop/student models, the Executones, and now these 1971 KMC Home models. Harold was clearly interested in the idea of a tube Rhodes but it seems like the failure of this model along with the Executone doomed it from ever coming back. Adding up all the above models, I'd guess less than 100 tube powered Rhodes were ever made with the bulk of them being the early Sparkletop/student versions.

Hard to say if the current asking price is fair due to the weight of the KMC body, but in my opinion it is easily one of the coolest and rarest production Rhodes ever made.

Reverb link with additional pictures: https://reverb.com/item/71704034-fender-rhodes-73-70s-wood-grain

If you are having trouble dialing in a good volume, I'd recommend getting a volume or EQ pedal to give an extra layer of adjustment.

Personally, I use a MXR 10 band EQ which works pretty well with the volume and it helps add a bit of top end sparkle to the original preamp.

Hi blueberryjam,

I only have experience with the Peterson system but even those get very loud past 2 when in a household environment so it wouldn't surprise me that the Janus is similar. My guess is the electronics probably weren't been modified to make it louder. However, if a previous owner adjusted the pickups too close that could be causing it to be excessively loud.

I would use the guide below to check and make sure the pickups aren't too close to the tines. If they are, then pulling them back a bit should help with the excessive loudness.

https://www.fenderrhodes.com/org/manual/ch4.html#4-7

Hi Jimmymio,

They do come up for sale occasionally but they're usually only offered locally as opposed to Reverb or eBay. I'd keep an eye on your local Craigslist, OfferUp, and Facebook Marketplace and one should pop up eventually.

Alternatively, I'd consider trying to sell it as is first if the outside of the cabinet is still in good condition. Although not as popular, the student models are significantly rarer and some buyers might actually prefer how it looks now as opposed to the Stage.