Questions about Mark I Stage 73 with Split Mod

[drums1225]

Years ago, I acquired a 1978 Mark I Stage 73 with split mod (3 XLR outputs, exiting from the back of the piano), and recently became inspired to get it into game shape for some recording and jam sessions at my home studio. I'm sure the split mod is cool and probably desirable to many, but honestly, I kinda wish it was just a simple stock setup. Maybe someone here can convince me that I'm better off with the split mod, and offer some suggestions on how to get the most out of the instrument, while keeping things as simple (and inexpensive) as possible. 

About the Split Mod

Unfortunately, the split mod has rendered the bass boost and volume controls inoperable, as well as the front jack. I'm sure the previous owner had a great setup for this piano, likely with several amps and almost certainly a volume pedal, but I've always just run all three outputs into my Mackie 8 Bus mixer and monitored straight through my studio monitors. As a "noodling" pianist, at best, I never bothered to figure out how each individual output was routed/configured. Now that I'm trying to make the Rhodes a viable instrument in my studio, this stuff matters.

The other day, I received a "care package" from Vintage Vibe, including a sustain rod, new leveling feet/caps, a snap bushing for my sus pedal, and a new "Seventy Three"script  logo, so I spent some quality TLC time with the piano. I decided to test the outputs, and see what was coming out of each one. I took each of the 3 individual outputs and ran them, one at a time, through a Fender Performer 1000 guitar amp. Here's what I learned about the split mod:

OUTPUTS (with internal toggle switch toward keyboard)
Output 1.   Full Keyboard
Output 2.   Top 2/3 of Keyboard (from F below middle C and up)
Output 3.   Top 1/3 of Keyboard (from F above C5 and up)

Can anyone give me some insight to why these specific configurations may have been chosen, or how you might deal with effects, amplification, recording, etc.? I guess I can take Output 1 and run it into an amp or my audio interface, and call it a day, but if there's some cool possibilities that I'm not aware of, or creative enough to come up with on my own, I'd love to hear some suggestions.

Attack/Bell Tone

While testing the key ranges on each output, I noticed that the sound and feel of the piano change abruptly at B above middle C. The keys below that note have the classic mellow Rhodes sound and a soft, almost cushioned feel, and then at B it turns into a very percussive bell sound, and the feel of the hammer striking the tine becomes more harsh, clicky, and less "cushioned". I'd prefer the mellow tone and soft feel all the way up. Is this something than can be adjusted, or is this simply a characteristic of a Rhodes made in 1978? Were the hammers possibly changed to achieve this sound?

Sorry for the million questions! Any help is greatly appreciated.

Best,
Chris

[Ben Bove]

Hey Chris!

There are a few different reasons for a split mod.  Because yours isn't split evenly in the middle, or split evenly in 3, it leads me to believe the owner wanted to single out the bass section.  So for example if someone wanted a straight Rhodes sound for a bass replacement, they could then use a phase pedal on the rest of the keyboard to play chords etc.  It could also be that they wanted to EQ the bass a specific way without affecting the other keyboard registers.

I would use output 1 as you said if you want the stock set up, unless there's a specific reason you want to get rid of the mod.

The B above middle C - this is due to a change in hammer tip hardness.  They had 5 different hardnesses of hammer tips, and that transition is the most noticeable.  When people complain about this I sometimes extend the Yellow hammertips a few notes up.

[drums1225]

Thanks!!