Just scored an early Sparkletop!

[Loucas]

You are welcome !
Two facing the player and two facing the crowd.
There are 12'' speakers not 10" and you can see the Jensen's code 220 and the 6 which means 1966 and 45th week

Also the amp here:

And schematics too :

[voltergeist]

I'm well aware of that amp and schematic, but it's been suggested the very earliest ones had a different power amp.  I have no doubt that mine had the same Jordan solid state amp as yours, though.  I'm asking about the rumored tube amp out of curiosity.

Your player side baffle matches mine exactly.  I keep hearing about a 2x12/2×10 configuration, was that then on even earlier ones or later ones, I wonder?

Are the knobs solid aluminum? 

What's the serial number on yours?

Looks like we have different name rails. 

[voltergeist]

Our baffles and cabinets have the same handwriting of the red number.  Yours is 80, mine is 58.  I'll post the pics when I get a chance.

[voltergeist]

[voltergeist]

Loucas, can you post a closeup of the kick plate?

Also, can you please post some more closeup photos of the knobs?

[The Real MC]

Anyone have a sparkletop tube amp for sale? 

They made a handful of "Executone" rhodes that had a tube amp that was just a Vibrolux Reverb or Twin Reverb chassis.  They simply chopped 2/3 of the front panel of the amp and put the panel on the namerail with the amp chassis separately mounted some distance away. 

From what I understand, there was a small Jordan tube power amp that pre-dated the Jordan solid state power amp.  Nothing to do with the Executones.  It's this mythical early original sparkletop tube amp that I'm interested in.  If it's true that the early sparkletops had a tube power stage, it would be interesting to know something about it.  And it would probably be the most impossible-to-find of all impossible-to-find Rhodes parts.

It may have been this... a student piano with bench that had the tube amp and speakers enclosed.  I saw the piano sans amp at a NAMM show back in 2000, but have not heard of a complete package to surface.

[The Real MC]

Hey, look what I found on Google

[Loucas]

Nice find Real MC !

voltergeist : I will post you all the photos i have here .
If you need close ups etc. i will have to go to my studio and take a shot again .It will take some time.
Also 2 videos to see how it sounds before i set it up a bit .








http://www.youtube.com/watch?v=jG21TH9KX58

http://www.youtube.com/watch?v=9C7uA0EwmBA

[voltergeist]

New audience side baffle.  1/2" birch ply.  Still need to put the edging on.

Thinking about configuring the cabinet for stereo.  Also kicking around some other ideas, like a mono line out and stereo line ins on a plate built into the player side baffle.  Also thinking about building a stereo tremolo into it, and maybe a Phase 90.  Controls would be on the baffle.  Foot switches would also be on a baffle panel.  The player side speakers would be on the sides rather than in the middle.  No modification of the cabinet, cabinet amp panel, or audience side baffle.  Whadaya think?

[Loucas]

SUPERB ! Go fo it !

[The Real MC]

Agree. go for it!

[voltergeist]

Audience side baffle ready for grill cloth and speakers.

[voltergeist]

Mockup of player side baffle.  I'll make a cutout behind the power amp for cooling.  Built in effects would go in the upper right, foot switches on the lower left.  I'm thinking an EH Stereo Pulsar for tremolo.  I think a Moog 12 Stage Stereo Phaser would be cool as hell, but neither it nor the Pulsar have stereo inputs.  I've thought about using two Phase 90s with a ganged pot to control the rate on both.  The LFOs wouldn't be synced like the Moog, though.  Anyone know of a stereo tremolo with stereo inputs? 

[voltergeist]

The wooden sustain lever was pretty busted up from lateral forces on the sus pedal, so I repaired the wood and cut a piece of aluminum u channel that fits over it to reinforce the wood and act as a big washer.  I plan to polish the pedal before I'm done.

[voltergeist]

This looks like a winner in the cool stereo tremolo with stereo inputs department:


http://www.youngpedals.com/thelooker.html

[Cormac Long]

I had an EH Pulsar and returned it because the rate control was way too sensitive. The depth control was also on the over-sensitive side. Make sure you check reviews in this regard before parting with cash.

After returning it, I replaced it with a used MXR 159 which has a much less sensitive rate pot, stereo inputs as well as shape control which does a great job of emulating the square tremolo if you want that. There's two latch switches, one for bypass and one for toggling pan mode on/off. It runs of 2 9V batteries or 18v DC.. but I run mine from a fx PSU that can only max at 12V and it drives it fine.

http://www.youtube.com/watch?v=UHPvAc_NIPA

[voltergeist]

Thanks, Cormac.  The Young "Looker" is what I'm planning to get.  It has stereo ins, plus tap tempo, which is a great feature given that the controls will not be conveniently located on the rail.  Other cool features, too, like variable waveform LFO.

I'm not planning to build in any other effects.  The line out/line ins will allow someone to do whatever they wish.  I figure I'll build in the stereo tremolo to give it functionality equivalent to a Mk1 suitcase and leave it at that.

I'm thinking now of putting the tremolo pedal on a little door in the baffle that will drop down to expose the pedal in a left-foot, on the floor position. 

[The Real MC]

Keep in mind that the much-loved stereo tremolo on the Peterson preamp used a trapezoidal waveshape not square.  Hopefully the SHAPE knob on the Young pedal can accomplish that.

[voltergeist]

Keep in mind that the much-loved stereo tremolo on the Peterson preamp used a trapezoidal waveshape not square.  Hopefully the SHAPE knob on the Young pedal can accomplish that.

That's a good point.  The Looker has multiple waveforms, but they are not continuously variable.  I'm leaning toward dropping the built-in idea altogether.  The line out/ins are all that's really needed.  Anything else is just gravy, and a lot of extra work.

Having a road-worthy instrument is crucial for a lot of players and customizing a Rhodes to be more robust can be a huge benefit for those players. I don't see any problem modifying a Rhodes in order to meet the needs of a specific player. But that player should be aware that it may have an effect on the value of the instrument when it's being sold to the potential future owner of the instrument as there are many people that expect a sparkletop Rhodes to have all of the parts of a sparkletop Rhodes.

The only real issue that I have is when the modifications are not done for an intentional purpose of that player but simply done for the convenience of the repair.

Another good point (from Max, on a different thread).  Once the Tolex was repaired, it was just too tempting to put on bling, especially since I had a full set of new suitcase hardware on hand.  However, I think it does qualify as a sin of convenience.  I'm planning now to get the original corners and handle ends replated with nickel and put them back on.  A fair amount of additional cost, but I think it's the best way to maintain the historical integrity of the piano without sacrificing cosmetic punch (and really, one has to admit that the sparkletop was designed for cosmetic punch from day 1, and tired-looking hardware, even if original, doesn't exactly honor that design intent).  There was no modification involved in putting on the new corners/handle-ends.

As far as latches and hinges, I view an update as a somewhat regrettable but nonetheless necessary modification to protect the piano.  I doubt that Harold would have used the latches and hinges he did if he were doing it over and had better options available.  It's really agonizing making decisions about a rare instrument like this, and no doubt others may have made different judgements.  At least the modifications I've made are genuine improvements from a practical and objective standpoint.  The price of ensuring structural integrity and safety in transport is a loss of historical integrity.  So be it.  The joints won't separate, and it won't fall out of the case.  That's worth something.

I value others' philosophies and experiences, so if you think I'm doing something stupid here or there, speak up.

[Ben Bove]

Found the thread with the 1964 tube amp pics.

http://ep-forum.com/smf/index.php?topic=4863.msg23919#msg23919

Flickr photos:
http://www.flickr.com/photos/33536929@N06/3120080587/in/photostream/

[voltergeist]

Nice!

[voltergeist]

So, yeah.  Who's got that schematic? 

[The Real MC]

Those pianos were considered prototypes.

If they used a prototype tube amp, there may not be schematics.

If they used a production tube amp, any decent guitar amp tech could decipher what it is.

[The Real MC]

Just got home where I can view flickr pics... It's an 80w amp with four 6L6 power tubes.  The only Fender amp with four 6L6 tubes during that era is the Twin Reverb.  That isn't anywhere near a Twin Reverb.  Only other tubes are two 12AX7 dual triodes, one for PI and one for preamp and tone recovery... done.  Simple TONE control, no treble bass or mid.  So it wouldn't have tremolo or reverb.

Definitely a non-production amp chassis.  Hard to tell if it was a Leo job, would not be surprised if it was.

Four speakers... on the player side!!!  Wonder if the audience baffle had four MORE speakers...!  Notice how the hammers were graded along the scale, that would had been REAL labor intensive on a production line.

edit: just saw the other pic showing a better view of the chassis and a THIRD 12AX7.  This single tube would cover tremolo.  That's probably the other yellow knobs - speed and depth.
edit #2: it's definitely an amp made by Leo.  Cap tray with original electrolytics, blue molded capacitors (highly desirable), and white bakelite knobs (now yellow from age) from the early 1960s blond/tan Fender amps.  The metal guides for the mounting screws are also Fender amp traits.  Not a production amp though.

[voltergeist]

Yeah, the four speakers on one side looks badass.  Thanks for finding that thread!

[voltergeist]

The graded hammers are really interesting.  Yeah, looks like that would take forever.  Looks like it had a lot of attention.

[voltergeist]

What is the jack inside the plastic cup above the panel on the cabinet used for?  My ST cabinet has a cup in the same place. 

[voltergeist]

I see the red pencil number in that prototype is #9.  Again, same pencil and handwriting as on my #58 and Loucas' #80.  Mine has the cup above the panel, Loucas' does not.

[Ben Bove]

I believe there was a jack for vibrato pedal?  I seem to remember seeing an early poweramp faceplate that said "Vibrato Pedal" by a jack.  Maybe in a catalogue even.

[voltergeist]

I believe there was a jack for vibrato pedal?  I seem to remember seeing an early poweramp faceplate that said "Vibrato Pedal" by a jack.  Maybe in a catalogue even.

Piano input and vibrato pedal are labeled on the plate, but then there's another jack (unlabeled) in the cup above.  Here's the link:

http://www.flickr.com/photos/33536929@N06/3120080935/in/photostream/

[voltergeist]

Looks like the external speaker jack.

http://www.flickr.com/photos/33536929@N06/3120080587/sizes/o/in/photostream/

[voltergeist]

Realized my st has graduated hammers like the prototype.  Were all of them built like that?  I haven't researched it yet.

[voltergeist]

Player side baffle in progress. 

[voltergeist]

Used tone bar grommets to isolate the power amp from baffle vibration.

[voltergeist]

Almost done.

[voltergeist]

In the cabinet.

[kphlx2000]

Great Work!

Kenneth

[The Real MC]

Correction - there WAS another amp with four 6L6 power tubes = Fender Showman.  The chassis in that prototype looks closer to a Showman.

[voltergeist]

[voltergeist]

[voltergeist]

[Student Rhodes]

I didn't look through all of the posts, but did you elaborate anywhere as to why you decided to use Webers, and Jensen Reissues?
Can't wait to hear sound samples.  If you could mike both sides for comparison, that'd be cool.
Ray

[voltergeist]

Hey Ray - the Webers were the result of coincidence, more than anything.  A set of four popped up on the local Craigslist, and the price was right.  I'm curious what they'll sound like, myself.  Maybe I'll end up changing them out for reissue 10's, I don't know.  The Webers are HEAVY.  I might end up putting 10's in that student model due to space restrictions, so in that case it would make more sense to put the Webers in the student and get reissue 10's for the sparkletop.  It may be cool to have the different flavors of speakers on each side, since, as you point out, it would provide miking/mixing options in recording situations.  I might be able to fire it up and do a quick-n-dirty soundcheck this weekend.

[voltergeist]

Btw, I belatedly realized I'd forgotten to build in the elements needed for the line out/ins on the player-side baffle before painting it, so that baffle will have to go back under the knife, and I've got a bit more machining to do.  I did end up ordering a Young Pedal Co. "Looker", and I'm still toying with the idea of building it in.  Built in stereo tremolo with tap-tempo still seems like a good addition, but also still looks like a lot of extra effort to design and build a good solution.  It would be trick as hell, though.  Hmm.

The power amp is a Samson Servo 120.  60W/ch @ 4 Ohms stereo (<.05%THD).  Should be loud, clear, and easily repairable/replaceable.   

[Groove4Hire]

My sparkletop has serial#141. It is dated september 16 1964. Has all original electronics. Had it for ten years and it is still on my to do list...

This piano is serial number A-0186 (preamp serial number 0116).  How likely do you think it is that there exists an older Rhodes in better condition?  Certainly possible, but if there are any, I bet there aren't many.

[voltergeist]

My sparkletop has serial#141. It is dated september 16 1964. Has all original electronics. Had it for ten years and it is still on my to do list...

Awesome.  Original cabinet?  Do you know what the red number is in your cab?  How did you determine the date?  What work needs to be done on it?

[Groove4Hire]

It's been in storage for a few years and I don't recall any red number... I took out the bottom left key where it was a green stamp with the date and year. It is in decent shape, has the red linercloth in the lid (had another sparkletop with the yellow cloth same as yours too but sold it) but I'd like to retolex it. I also bought a set of new graded teardrop felt hammertips many years ago that I plan on installing... Some day when time permits I'll start working on it...

[Ben Bove]

I have a pair of those Jensens, and they're great.  I put them in place of 2 factory speakers from a late 70's cabinet and there was definitely more mid-range present.  Great speaker.

[voltergeist]

Did a full functional test on the piano and cabinet today.  Original preamp fully functional.  Had to troubleshoot and repair a power amp channel, but got that fixed (four hours later).  Cabinet sounds great.  Good definition, low noise, plenty of volume.  Tried some stereo tremolo with the Looker, too.  Definitely glad I went stereo.  I like the sine LFO on the Looker.  It gives nice smooth motion, not as ping-pongy as square or trapezoid- a bit more subtle.  More work to do, but it sure felt good to fire it up and play a bit. 

[voltergeist]

Connecting the sparkletop preamp directly to the power amp turned out to have a couple significant shortcomings:
1.  The max output level of the st preamp is too low to make full use of the available power
2.  The preamp output has a significant DC offset that results in terribly loud "pops" when a true-bypass effect is bypassed

I resolved both problems by connecting the preamp output to a BBE Boosta Grande clean gain pedal.  The pedal does not pass the DC offset and provides additional clean gain to get full power from the power amp.  Works great.  The pedal really is pretty transparent (at least until the top third of the gain control, where it will break up pretty nicely), and full volume of the cabinet is LOUD.  Overall tone of the cabinet is very good up to moderate volumes.  At high volumes some mechanical/acoustic issues become apparent, as I'll describe below.

I'm planning fasten the gain pedal to the inside of the baffle and connect it between the piano input and the pre-amp output.  The gain control would not be accessible on the outside of the cabinet, but would instead be 'set it and forget it'. 

Once I was able to get full power from the power amp (which is pretty frickin' loud), it also became clear that additional baffle screws will be required to keep the baffle from rattling against the cabinet.  The cabinet also resonates strongly on some low notes, so I think some "tuning" work needs to be done to even out the response of the cabinet.  Anyone especially knowledgeable about cabinet tuning?  The player side baffle is not ported, so I'm thinking appropriate ports on that baffle would be the best way to deal with the issue, if that would do the trick.