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For me, with a very crowded music room, the Keystep's primary virtue is how compact it is.
I ended up getting the Keystep as well, primarily for input to the MiniBrute 2S (which has an awesome sequencer, but no keyboard); this all sits easily on my Rhodes (Home-built Dyno-style case)
I'm also finding it to be useful as an adjunct to my Dave Smith OB6 which has a 'difficult-to-program' polyphonic sequencer...the Keystep sequencer is MUCH more flexible and after input they can be edited in the free app.
The Wurlitzer Electric Piano / Re: Wurly 112 Opinons.
« Last post by DocWurly on Today at 10:07:07 AM »
You may want to replace the felts before doing the tuning.  It's easy.

The tuning is HARD on these.  Be in touch before you get into it, I have a few pointers for you that could save you days of work.
The Wurlitzer Electric Piano / Re: Wurly 112 Opinons.
« Last post by rossklemz on Yesterday at 03:16:05 PM »
Doc reached out to check in with me, which I really appreciated. Here is what I told him.

I've done everything I think is needed from research, minus replacing the missing reeds and and tuning. Big step yet. I've went through the amp, installed a new power cable, fully disassembled and cleaned the piano and reassembled. Did some minor key leveling and easing and repaired a few broken hammers. It's playing and sounding and feeling really neat.  Prob needs a re felt for the dampers not long after reed replacement. I am however at a standstill right now as I just closed on a new home and am renovating and moving, SO it's gonna be a minute. hahaha.
Amps, Effects & Recording Techniques / Re: Peterson stereo pan pedal?
« Last post by Dan Belcher on Yesterday at 08:06:14 AM »
Vintage Vibe makes a preamp called the Stereo Vibe that is essentially a modernized, improved Peterson suitcase preamp. I bought one several years ago and absolutely love it. Super clean and low noise, good tone adjustment range, and the tremolo is so sweet, it even gives you a wider range of speed adjustment than the original Peterson.
The Wurlitzer Electric Piano / Re: Reed plates
« Last post by MoonSide on Yesterday at 03:27:14 AM »
Thank you for your answers.

My model is a 200.

I will remove them and do a test. If I can do without them it suits me, the setting will be much easier. I will keep them aside in case ...
The Wurlitzer Electric Piano / Re: Reed plates
« Last post by DocWurly on July 14, 2019, 09:57:25 PM »
I would like to say, for the record, that apparently the reason I couldn't post that prior long response was because it contained the following obscene word:

v i b r a t o r s.

You don't believe me?  Try responding with a post containing that word, and see what happens.

Who set up the censoring software on this server?  :D

(Update:  Our fearless admin Cormac looked into this.  It's not software on the EP Forum board in particular, but some universal snag that was in the hosting server software.   But they fixed it.  Now we can say "vibrators.")
The Wurlitzer Electric Piano / Re: Reed plates
« Last post by DocWurly on July 14, 2019, 08:18:26 PM »
I believe they are to help with sustain. You may remove them for tuning, but you should put them back again.

Part 2:

They aren't for sustain.  Or rather, I strongly doubt that was their intent, though I used to think so. If anything, they probably were intended to mute overtones.

They debuted in 1963 with the 140A/145A/720A series and the new reed design, and were kept through the hybrid 200/200A's of 1975.  They dropped them from the later 200A's.

They start exactly 1 octave down from the topmost "C", and cover 10 notes; so, there are 12 notes up top --one for each chromatic note in a scale--  that don't have them.

My best guess is that they were there to minimize a kind of murky rumble that can happen when you depress the dampers, which is especially audible in instruments with a lot of mass, like the 720(/A/B) and 726(B) furniture console series.  They leave an octave of notes to act as sympathetic vibra-tors, and prevent, say, the top two C's from doubling that effect unevenly.

There are two problems with them:

1) As they cover two notes each, they make tuning those notes VERY hard--It's super-tough to align the reeds in the pickup and tighten down the two screws, and get the pressure even, etc. And you can't just get the pitch right and _then_ re-add them--they can change the pitch.  You pretty much HAVE to tune those reeds flat, and do the final fine-tuning in place, with a file--if you keep them.

2) Often, especially on the 200 series, they just keep the notes from sustaining.  They are typically corroded, and maybe that's why, although I suspect they were made out of some cheap metal that distorts over time.  (I find that they don't do typically as much sustain "damage" in the early instruments that they were installed into.)

Most techs just take them out.  If I can, I keep them in the pre-200's, but usually any theoretical benefits are so minimal, so unnoticed, that it's not worth it.

(My other hypothesis is that they are there to ease the tonal transition between the treble reeds/hammers and the midrange ones. They cover all 8 of the upper-mid reed blanks, 43 to 50, and two of the lower treble blanks, 51 and 52.)
The Wurlitzer Electric Piano / Re: Reed plates
« Last post by DocWurly on July 14, 2019, 08:12:39 PM »
I can't tell exactly what model you have there, but I see evidence, from the holes for the music posts, that it's 200 series or later.  I'd say just take them out and have no regrets.

I tried to post a longer reply but the site isn't having it.
Other Keyboards & Software Synths / Re: Korg Poly Ensemble S
« Last post by Peter Hayes on July 14, 2019, 05:35:58 PM »
Other Keyboards & Software Synths / Korg Poly Ensemble S
« Last post by Peter Hayes on July 14, 2019, 12:05:59 PM »
I have a Korg Poly Ensemble S in need of a home. Needs some work. Contact me off list if interested.
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