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#51
Miles Davis (Jazz)

January 16, 1968 - "Paraphernalia" (Wurlitzer)
May 17, 1968 - "Stuff" (Rhodes)

The above two songs were the first commercially released songs from Miles Davis featuring electric pianos. They both appear on the album Miles in the Sky (Columbia CS9628), which was released in the fall of 1968 and reviewed in Down Beat (10/3/68): "By using the electric piano and having Herbie play the bass line and the chords with the guitar, and Ron also playing with him in the same register, I thought it would sound good. It came out all right. It was a nice sound." (Notes and Tones, interview with Davis)

The Beatles (Pop/Rock)

The Beatles recorded "Get Back" and "Don't Let Me Down" in January of 1969 with Billy Preston on a Rhodes (the only time the Beatles regarded another musician as an actual member of the band, hence the "Fifth Beatle"). He also plays the Rhodes on "Let It Be".
#52
The Fender Twin Reverb was used by most Rhodes players in the 1970's, and it is now regarded as the ultimate Rhodes amp. It was also used in the factory as a reference amp for the Rhodes, which meant that the pianos were unintentionally designed to sound best through that particular amp. If you're looking for a cheaper alternative to the Fender Twin, any guitar or bass amp with 12" speakers should do the job. A tube amp will give you a better sound than a solid-state amp, although (ironically) almost every version of the Suitcase amp was solid-state.  If you're using a keyboard amp or PA, a bass cabinet emulator (that's right, BASS) works well with the Rhodes tone, acts as a preamp and usually gives you the inline effects you need (chorus, tremolo, phase shifter, etc.).
#53
A couple of companies out there sell "power up" boxes that power the effects and let you run the output to an amp or mixer. Normally these will only be compatible with the 5-pin DIN or XLR preamp connector (i.e. not the 4-pin version). If you don't care about the EQ and Vibrato, the piano will still work with a guitar or bass amp: run a 1/4" cable from the Accessory 1 jack on the front panel to the amp input, and you should get sound. If you have a 4-pin preamp without the Accessory jacks, you may need to remove the harp cover and run an RCA-to-1/4" cable direct from the pickup rail output to the amp.
#54
A couple of upgrade options were available for the Stage pianos over the years, namely the Super Satellite and Janus I systems. Each of these upgrades added a Suitcase-style preamp to the piano, which was used to connect the piano to a pair of outboard speakers. If you have a Stage piano with a preamp, it is missing the amp cabinets that went with it!
#55
Once upon a time, there was a guy named Chuck Monte who decided that electric pianos were cool, but they weren't really good enough for professional use. Under the name Dyno-My-Piano, Chuck took stock Rhodes, Wurlitzer, Hohner and Yamaha pianos and customized them extensively, giving them a better sound both in the studio and on stage. The "Dyno Rhodes" grew in popularity with recording artists in the 1970's, and by the 80's its punchy, bell-like sound had practically taken over the Top 40 and R&B airwaves. The list of Dyno clients was a long one that included Joe Zawinul, George Duke, Tom Coster (Santana), Rick James, Russell Ferrante (Yellowjackets) and Larry Dunn (Earth, Wind & Fire).

Dyno-My-Piano started in 1974, with Chuck being the sole proprietor. What began as a method of fine-tuning the piano's tone and action evolved into a much larger operation by the late 70's, involving custom electronics, new hardware and other performance-oriented improvements. Eventually Chuck could not do all the work himself (his clients numbered in the thousands), so he began training Dyno service technicians in seminars across the US. These seminars focused more on understanding the inner workings of the Rhodes than installing hardware: the first step toward producing the Dyno sound was to optimize the harp setup. This process involved moving the pickups as close to the tines as possible, along with adjusting the position of the tines to emphasize the overtones more than the fundamental.

Once these ideal settings were achieved, the Dyno EQ could do its job. The EQ was part of a custom preamp installed in the namerail of the Stage models, replacing the existing Volume and Bass Boost controls. The new preamp had two pairs of concentric knobs, one for Bass Boost and Overtone, the other for Volume and "Normal" (a post-EQ gain control?).

The harp adjustments and custom preamp alone were enough to give you the Dyno sound, but that was just the beginning. Another popular option was the Tri-Stereo Tremolo, an effects unit that was installed on the right-hand side of the namerail. The Tri-Stereo Tremolo was a 3-way panner (left-center-right) with several waveform options (square, sawtooth, sine), taking the Suitcase Vibrato concept to a new level. A set of stereo outputs was provided on the front panel, as well as an effects loop (inserted before the tremolo).

And then there was the Percussion Pedal, which wasn't really a "pedal" at all. This was a knee lever that was installed on the underside of the piano, allowing the performer to adjust the position of the harp assembly in real time(!). By shifting the harp slightly in relation to the pickups and hammers, a wide range of new tones became available. One Dyno ad from the time compared it to pitched percussion instruments like the kalimba and steel drums.

But one of the most important Dyno products was the Flat Top Conversion Kit, which most Mark I players desperately needed. The idea was fairly simple: take the lid of the Rhodes case and saw it in half. Part of the lid stays on when you setup the piano at the show, providing a flat and sturdy surface for your Clavinet, Minimoog, etc. Of course, the problem that arose from placing a keyboard on top of the pickup rail was that the piano now amplified the noise from that keyboard's power supply. The Dyno Shielding Kit was an option that helped in dealing with 60-cycle hum and other sources of interference. By installing a metal shield on the underside of the harp cover or the Dyno flat top, noise that would normally be amplified by the harp was greatly reduced, if not eliminated completely.

In addition to these standard modifications, Chuck was responsible for customizing pianos to suit the needs of individual clients. This ad from 1981 gives you an idea of what was possible:

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The Studio Model 4000 is a Rhodes piano that has been modified extensively by Dyno-My-Piano. It has been designed to eliminate the problems that may crop up in using the Rhodes piano in recording and performance situations. The piano includes an interface for connecting to a synthesizer, and onboard capability for running effects loops through the piano. Other features include a patented stereo equalizer, fine-tuned action and tone adjustments, inboard stereo chorus, inboard overdrive circuitry, stereo modulation and keyboard split, tone modulation circuitry which splits the EQ filters into two groups (panning between the two groups to give a wah-wah effect), a musical instrument input switcher that assigns the left and right location of inboard effects to interfaced keyboards, and an AC power distribution system module that remotes the power supply (it also supplies six extra outputs and will put out 110 volts, 240 volts, and 230 volts).

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Other things you might have seen on a Rhodes that got the "Full Monte" included a clear plexiglass harp cover, redecorated case (with the tolex stripped off and the wood finished, or maybe a "flame job"), and upgraded speakers for the Suitcase amp. It seemed that there was nothing Chuck wouldn't do to make the piano look and sound better....

As the Rhodes reached the end of its life in the mid-1980's, so did Dyno-My-Piano. Although Tom Coster and others still perform with theirs, it's not worthwhile to try to buy a used Dyno Rhodes if what you're looking for is the Dyno sound. As former Dyno tech James Page explains: "...if you do find one of our pianos, chances are that by now everything is probably out of adjustment, and if it has an EQ, it's only going to be amplifying an out-of-adjustment harp. So it is unfair to judge that 'Dyno' sound by an instrument that probably hasn't been serviced by a Dyno tech in 20 years."
#56
There's no straight answer to this question. It really depends on whether you want to rip off a desperate musician or give it to them for a fair price. At one time the Rhodes was so despised that you could get one for $50, or even for free. These days a fair price is more like $500 to $750, depending on the condition of the piano. For $500 you should be getting a Rhodes where all of the keys play, and if it's a Suitcase, the amp should be included and functional. A piano in "living room" condition (i.e. one that plays well and has no visible road damage) may be worth $1000 or more. Prices are generally the same in Euros.

Things to consider:

* If it is a Stage model, does it have the legs, sustain pedal and push rod? These parts are commonly missing from "well-loved" Rhodes pianos and are somewhat expensive to replace.

* If it is a Suitcase model, does it have the original amplifier, and does the amp still work? Does the preamp work? And most importantly, does it have the 4- or 5-pin cable that connects the piano to the amp? That strange cable is the most important part of the deal.

* Has it been used on the road, or is it a living room piano? Pianos that have been toured tend to be in need of some loving care, and they will probably need replacement parts. Some parts may be hard to find; others may be expensive to replace. Make sure you don't have to buy an entire piano's worth of parts to salvage it!

* Do any spare parts or replacement tines come with it? If so, fresh tines or other parts could really sweeten the deal.

Other things that can make a Rhodes more valuable are third-party enhancements like Dyno-My-Piano modifications, an aftermarket preamp, or a MIDI retrofit. These uncommon features can add hundreds of dollars to the piano's asking price.
#57
The only difference is that a Rhodes without the Fender brand name is a newer piano, built in the late 1970's or early 1980's. The mystery behind the "Fender Rhodes" name becoming just the "Rhodes" name is a result of CBS marketing to expand distribution to keyboard dealers, as well as some guitar dealers. The case being that some dealers were limited with both names joined, therefore if separated they would be different lines entirely. So in fact, a keyboard dealership could have the Rhodes line but not necessarily the Fender line, so local music dealers would not be pitted against each other. And since Harold Rhodes was the heart and soul of the sound, it was a meaningful move as well as a marketing strategy.
#58
For Sale / What's the best way to ship a Rhodes?
March 25, 2005, 02:24:55 PM
Shipping a Rhodes piano is inherently dangerous; the best way is to pick it up yourself (or meet the buyer/seller halfway, as I did with my Suitcase 73). Of course, with people in Japan buying pianos from people in the U.S. selling them on Ebay and wondering, now that I've won and paid too much for this piano, how do I get it to Japan???

First of all, no matter what you do, PACK IT CAREFULLY. John Della Vecchia gives the following instructions for properly packing the Rhodes for shipment:

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1. Get alot of THICK foam padding - the stuff you put on your bed with the curved depressions. Pack into the cavity *underneath* the harp snuggly, and then on top of the harp (tonebars). Then put the harp cover back on so it is nice and secure.

2. Put padding on top of the keys and then put the cover on.

3. Use packing tape and wrap the entire piano being sure to cover the latches in your rotation. Go around at least 4 times.

4. Get cardboard (old broken down boxes, etc.) and tape it onto the piano, being sure to cover all the areas of the tolex, and then cut out slots so all the handles show through. You don't need to find a box per se that will fit the piano, all you need is scrap sheets of cardboard to create a "shell" around the unit. The thicker the better.

5. Write FRAGILE all over the box. (this means nothing to UPS, but it gives you peace of mind).

Believe me, taking the hour or so to do this will save you enormous headaches if UPS drops it off the back of their truck (which will happen more times than not). I have shipped alot of rhodes and this is the best way to do it.

John

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If you're in the U.S. and it's too far to drive, you should first try David Berg's suggestion:

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I have a recommendation for an excellent company to use for shipping your valuable Rhodes, Clavinet, piano or other large keyboard instrument. The company is called Keyboard Carriage and they are located in Elizabethtown, KY - 270 737-5797. The advantages of knowing your instrument is being handled by professionals who are also moving $50,000 grand pianos and receiving your instrument in the same shape that it was sent, far outweigh the minor drawbacks IMHO. What are the drawbacks of using Keyboard Carriage compared to UPS? They cost more than UPS, e.g. I spent $150 to have a Clavinet sent from Boston to Indianapolis. They take longer than UPS - took two weeks for my shipping. They only make pick ups and deliveries to piano dealers.

I just used Keyboard Carriage to ship a Clavinet for me from Boston to Indianapolis and it arrived in perfect shape. For comparison, last year I used UPS to ship a Clavinet and they almost managed to completely destroy it. To the shippers credit, he did an excellent job of packing - about 5" foam on all sides in a very heavy box. When it arrived, the box was totally ripped open on three sides - it looked like it had been dropped multiple times, the foam was hanging out and the clav case was exposed. The clav itself was inoperable when I first plugged it in - the left side was smashed in and pinched the keys on that side and the whole keyboard assembly was broken off inside so half of the hammers were misaligned with the strings. It was a real mess that took me many many hours to fix. To add insult to injury the seller/shipper (whom I thought I could trust) kept the UPS insurance settlement so he basically got paid twice and I was left with a busted clav. I finally gave up trying to contact him when his e-mail stopped working and he never answered his phone.

So I give TWO THUMBS UP to Keyboard Carriage! It was worth it to me!

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If Keyboard Carriage doesn't work out, shipping it as cargo on a train or airline is a good alternative. Several people have been successful with Amtrak in the past, although if you tell Amtrak it's a musical instrument they won't take it. Simone Ghetti used Delta Airlines and had a good experience (11/26/01):

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About three years ago I had my Rhodes Suitcase 88 shipped from Texas to Michigan with Delta Air Cargo. It cost about $180...but you are looking at about half the weight. Delta did a beautiful job and it only took 2 days if I remember correctly.

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Whatever you do, AVOID FEDEX AND UPS if at all possible. Too many good pianos have been dropped to their doom in their hands...don't let yours be another casualty!!!! For example:

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i'll go one step further and advise you to not use a shipping company at all for a rhodes. i have seen high recommendations for fedex, but many people don't know that fedex's ground component is essentially a taken over, confused, inept, and worthless 'roadway package systems' (rps). i have spoken with at least 30 different people at fedex/rps; traditionally sound fedex is not what you get with fedex ground.

it would take me 10 pages to describe the unbelievable disaster that fedex/rps served up for me with a seemingly simple suitcase 73 shipment from montanta to dc. i'll give you the short story:

they lost it. they attempted to return half of it (for exceeding their dimensions). they found it back in montana then sent to me again but via fedex air. it arrived destroyed 4 weeks after it was originally sent by seller. i refused it and sent it back. they lost it. i had to fight like a bear to get my refund (which they kept trying to ship to the seller, who already had my money). about 3 months later it was dumped on the seller's doorstep, and he ebay'd it for parts.

next time i will either drive hundreds of miles myself or pay the extra money to have a piano/organ mover do it right.

oh, the really sick part of the story is that fedex wanted to keep the shipping fee. ha! they destroyed a classic piano, then wanted to charge me $120 for the honor. what a joke. the lady said, "oh, you want the shipping charges refunded too?" duh.

charley

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Of course, for some people there will be no alternative. I've heard that the piano is too big to be accepted for FedEx air, so you will be stuck with FedEx Ground ("RPS", mentioned above). I have heard horror stories about both FedEx and UPS, but at the same time there are people who have used both and not had problems. Follow John Della Vecchia's packing instructions and you will be much more likely to have a safe shipping experience.