Tag Archive for Janus

FOR SALE: Mark II Suitcase 88

Up for sale! We just completed a detailed restoration of this beautiful 1980 Mark II Suitcase 88 and now it’s time to find it a new home!

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[Update: This piano has sold. If you are interested in a similar piano we can restore one for you! Please contact max@chicagoelectricpiano.com for more information]

We just wrapped up a complete restoration on this 1980 Mark II Suitcase 88. It’s in incredibly clean condition and even has the music stand! (The music stand is where all the classic MKII tone comes from)… This Rhodes is missing the top case so let’s find it a good studio to call home!

As you have come to expect from our restorations this Rhodes sounds and plays even better than it looks! We replaced all aging action felts and regulated the action with a detailed key bed leveling. All aging tone bar grommets were replaced with Retro Linear grommets and hammer tips with Vintage Vibe’s tapered tips that bring out the most of the classic Mark II tone. The amplifier was re-capped, biased, and all pots were opened for cleaning. This beauty is an excellent example of a Mark II piano sounding at its best!

Please enjoy the sound sample as you enjoy the pictures below:

 

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$3,499 — Please contact Max Brink at (312)476-9528 or max@chicagoelectricpiano.com for ordering information. Worldwide shipping is available.

How to Determine the Value and Condition of a Rhodes

How to Value a Rhodes Piano Part 2: How to Determine the Condition of a Rhodes

As mentioned in the first half of this post, unserviced Rhodes and in summary pianos in comparable condition around the Chicago regional market vary from $300-1,000 on average. Other pianos that have been partially repaired can range are valued from $800-1,200+ but are only worth the additional investment if they include a good invested labor and maintenance that keeps them in top condition. Fully restored pianos from our workshop start at around $2,000 and range up to $4,000+ and are rebuilt from the key bed up with 15-25 hours of specialized restoration work. Unfortunately for the buyer, this range of pricing from $300-4,000+ can leave many confused about the wide range in prices. In order to make sure that the Rhodes is worth the asking price, it’s important to know what to look, feel, and listen for.

Here are the parts to look for in a Fender Rhodes:

The main reason that you find such a wide range of prices for Rhodes pianos being sold is that people don’t understand how to spot deteriorating parts or even worse that the vintage parts were replaced with new parts of poor quality. Most of the parts insstrument will be easily accessible by lifting the vinyl lid and all of them will be accessible if you have a phillips screwdriver handy for removing the four screws that hold the wood harp bracket to its side supports.

The Keys & Action:

The action of the instrument is more than just the feel of the instrument and will also impact the harmonics and dynamic levels of the Rhodes. You’re not going to get the most out of your Rhodes in terms of tone if the keys and hammers are not playing properly. First play notes in various octaves softly and make sure that there are good dynamics in the bass and mid sections. Next, play it with some forte and make sure that it has the proper setup to achieve the classic Rhodes bark. When playing with forte the notes should still be pronounced and there shouldn’t be any interference in the attack of the note. From there, make sure that the volume of the notes across the keyboard are even when played with varying dynamics.

It is critical that the keys are as level as possible and that they have the proper amount of key dip. This is a quick way to judge the condition of the piano’s action. In ideal condition the keys will feel stable from left to right movement and feel buttery smooth when depressed. The textbook level of key dip should be 3/8-13/32″ deep for all keys. Unless the Rhodes was professionally setup, however, it is likely to be well outside of those margins which can cause the action to feel slow, stiff, loose or sluggish.

Bushing felts are the felts in the center of the piano key and help guide the piano key as it is depressed. If you move the piano key gently from left to right there should be little movement. When there is a loose feeling in the key and there is a lot of lateral movement in the key then the bushings should be replaced to restore the proper feel of the keys. The feeling of a key being depressed should be snug but not tight as the key is depressed.

Simple action adjustments may only take a few hours but our full key bed setup can take more than 8 hours of service to achieve ideal action levels.

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Leveled Keys

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13/32″ Key Dip Block

Tines:

The tines are what makes a Rhodes a Rhodes. These are the vibrating pieces of metal that are amplified by the electromagnetic pickups (analogous to the relationship between the strings and pickups of an electric guitar). When tines go bad in the low register their pitch will usually shift and in the upper register they will lose sustain (however, both of these problems could also be due other issues with the setup of the instrument). Most importantly tines should be completely free of rust.

Tines were contracted by different companies throughout Rhodes production so when replacing tines they should be replaced with a piano of the proper production period. Many pianos which are being sold today will have replaced tines from improper periods which causes notes to have the wrong harmonic, attack, or sustain characteristics from other pianos. At The Chicago Electric Piano Company all of our tines are separated by the production period in order to make sure that the restorations performed are period-correct.

Replacing tines can cost around $15-25 each for most pianos.

Acceptable Clean Tines

Rusty Tines

Heavily Rusted Tines

 

Tone Bars:

Together with the tine the to like a tuning fork and the tone bar is mostly there to provide mass for the sustain of the tine. The tone bars are a great way to get a quick indication of the overall condition of a Rhodes. Corroded tone bars should not have a dramatic impact on tone but could be an indication that the Rhodes has been exposed to elements that have negatively affected other aspects of the instrument.

Re-plating the zinc finish on tone bars is possible for those who want a shiny new finish.

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Healthy Tone Bars

Grommets: 

At this point in a Rhodes’ lifespan the grommets should be replaced to insure that the piano can be setup properly. Grommets are the small pieces of rubber in the center of the tone bar and suspend the tone bar so that a note can sustain and hold a consistent voice. When grommets start to age they harden and become loose in their sockets. Often their shape will hold the “memory” from years of pressure which can complicate the voicing process and can cause the voice to drift over time even after it has been setup. Grommets that look warped–especially ones that are pancaked under the washer–or grommets that are loose will definitely need to be replaced.

In the upper and lower registers, gently rock the tone bars from left to right to see if they are loose. These registers are the most prone to show the negative symptoms of bad grommets. When moving tone bars gently the tone bars should feel snug within the grommets.

There is a big difference in the tonality of a Rhodes with different grommets. We have experienced many Rhodes pianos with poor reproduction grommets that leave the pianos sounding nasally or thin often with oscillating notes because of improper tooling or density of the grommet. If you are planning on replacing the grommets yourself please make sure that you are using the highest quality components.

Grommet replacement requires completely re-voicing the Rhodes note-by-note and  falls under our “the works” services.

Warped Grommets

Warped Grommets

Healthy (New) Grommets

Healthy Grommets (New from our friends at Retro Linear)

Hammer Tips: 

Either with a flashlight or by unscrewing the harp bracket (two screws on either end of the tone bars), check the hammer tips for grooves created from striking the tine. There should be no groove at all on the wood core tips in the uppermost register or it will be nearly impossible to voice well. Like the grommets. the rubber hammer tips should have been replaced at this point in a Rhodes’ lifetime. If you see cube shaped hammer tips sometimes with yellow and red paint on the hammer tips they are the originals and are likely to need replacement.

In early Rhodes Mark I production the hammer tips were square cubes which gave the early Mark I it’s signature attack. Pianos from this period will not sound period-correct for an early Mark I piano without using cubed hammer tips. We offer either hand selected vintage hammer tips or new cubed hammer tips for these models (circa 1971-mid 1976).

For later model Rhodes the hammer tips were tapered. This presents challenges for the setup of the instrument because the changes in the height changes the strike line of the hammers with the tines across the piano. Rather than having a linear strike line of the cubed hammers the strike line is tapered because of the changes in hammer tip height. This was used in Rhodes production after mid 1976 and is also the signature shape of most reproduction hammer tips available before recently.

Look out for Early Mark I pianos with tapered hammer tips as they will most likely either have improper strike line or damper issues. When the height of the hammer tips is cut in half by using tapered hammer tips in an early Rhodes it requires that you reposition and service aspects of the Rhodes’ damper assembly, the strike line of the harp, and the height or escapement of the harp. In our opinion performing all of these adjustments for a sound that is not period-correct is too invasive and in most cases the adjustments are not even made in DIY repairs.

Hammer tips can be replaced on an as-needed basis but replacing them in full sets is the only way to get perfectly even voicing throughout the instrument.

Original (early cube) Hammers with Gooves

Wood Core Hammer Tips (Upper Register) with Grooves

Healthy (New) Hammer Tips

 

Sustain Pedal and Damper Felts:

If the owner has the sustain pedal, make sure you test it to make sure that it fits snugly within the instrument and properly pulls the damper felts down sustaining any notes evenly. The damper felts only have one function: to dampen the note after the key is released. Pay close attention to their ability to dampen the bass notes with ease. Once again, grooves should be avoided but as long as all of the notes are dampened then they are functioning perfectly fine. Still, it is important to make sure that they aren’t completely warn down.

Notes that don’t dampen can be eliminated within a typical standard tuneup but if there are many faulty notes there may be other more critical issues with the Rhodes.

Bad Damper Felts

Bad Fraying Damper Felts

 

Cosmetic Condition:

This is the factor where the originality of the parts has the most impact on the value of the instrument. Vintage instruments should be all original cosmetically or restored professionally to the original specs to hold their value over time. Small tears in the tolex covering the instrument may give it a Rhode-worn vintage look, but larger tears will decrease the value of the instrument. Likewise, check the logos and scripts to see if they have broken off or have been scratched or broken.

Scratched Logo

Tears in Tolex

 

Original Accessories:

The Rhodes Stage models should have four accessories to look for. Here’s the checklist: 1) four legs, 2) sustain pedal, 3) cross bars and knob, and 4) the case. All of these parts are critical to the instrument and can be very hard to replace.

Finding replacement parts can take time and costs can add up. Replacement case tops need to be custom fit to the Rhodes since cases vary up to 3/4″ in some instances.

Original Rhodes Case Accessories

Original Rhodes Accessories Including Legs Pouch and “Case Candy”

Side Note: “Case Candy” refers to any additional parts or memorabilia that originally came within an vintage instrument’s case and can significantly increase the value of the instrument for a collector. Originally, the Rhodes came with an owners manual and replacement tines that can increase the instrument’s value.

Ask Good Questions

Before shaking hands on a deal, or placing an offer or bid online, it’s important to learn as much as you can about the instrument and most importantly its upkeep over the years. Make sure that you have learned everything that you need to know about the instrument before shaking hands on a deal. Here are some good questions to get started:

  • “How long have you owned this Rhodes?”
  • “What issues have you had with it since you owned it?”
  • “When was the last time it was professionally serviced?” 
  • “Have any of the parts been replaced? Has anything been modified or updated?”

Beware of sellers that claim “it was stored for the past ten years” as these pianos are just as likely to need service as pianos that were played for the past ten years. If a Rhodes has not been serviced in the past ten years it is more than likely that the works’ is needed to get it back up to par. At this point in a Rhodes lifetime, there should be at least some restoration work in order to guarantee that it is playing at peak performance. Regular standard tuneups every one to four years can help prolong the instrument’s health and help the instrument maintain its value over time.

Mark I vs. Mark II

What is the difference between a Fender Rhodes Mark I and Rhodes Mark II? Which model is better? How can I make my Mark I sound more like a Mark II (and vise versa)?

These are questions that are asked by Rhodes owners and electric piano enthusiasts. It’s not uncommon for a Mark II owner to request ‘more of a Mark I sound.’ The quick answer to these questions is surprisingly simple: when the Mark II was introduced in 1979, the only true changes were to the exterior aesthetic design of the instrument—the Mark II was nearly the identical instrument to the Mark I on its day of birth. It only becomes more complicated because of all of the changes throughout Mark I design that led up to the transition to the Mark II. Changes were made nearly year-by-year for the Mark I are what differentiate early Mark I pianos from a Mark II even though late Mark I’s will be more like a Mark II than a Mark I… Three factors have the greatest impact on Rhodes tone: The hammer and hammer tip, the tine, and the amplification system.

I. The Hammer Tip

After the Mark I was introduced in late 1969, the first of major changes in production happened in the early 1971 when Fender Rhodes production switched over from felt hammer tips to cubed neoprene rubber hammer tips. This change was intended to give the hammer tips a longer life span because the felt tips developed deep grooves that needed to be filed by a tech and the harp or tine re-aligned for proper strike line to restore their sound (and the filing eventually would affect the height of the hammer). The cubed rubber tips gave a unique tone that had deep lows and more crystal clear highs. The early cubed tip sound is today part of the quintessential part of the Mark I Rhodes sound which lasted until early 1976. For many players that seek that classic sound there is no other way to get it than the original hammer tips or those produced by Retro Linear.

After mid 1976 Rhodes pianos began to feature tapered hammer tips that changed height within sections of the piano moving from the bass to the treble. This design caused a greater noticeable imbalance in tone at the points of crossover because it also affects the strike line of the hammer with the tine. Additionally, the attack of the bass notes dramatically changed because of the depth of the neoprene hammer tip used. Because the change in hammer tip happened halfway through Mark I production it is often a point of confusion for the differences between the Mark I and Mark II sound. In fact, we are huge fans of Mark II Pianos with the early Mark I style cubed tips because you get the balanced harmonics of the Mark II Tines with the early Mark I attack–particularly in the bass!

II. The Tine

Even though it is less noticeable than the hammer tips from a visual perspective the tine is one of the most important aspects to the pianos voice. The tines were redesigned and commissioned to different manufacturers throughout the years. Almost every other year there were slight differences in production of the tines that affected the tone of the Rhodes piano. We always restore our pianos with period correct parts–especially when it comes to the tines–because of the dramatic impact that it has on the tone of the instrument.

The changes in tines’ production within the Rhodes piano is directly analogous to changes in strings of a piano or guitar and is especially analogous to the metallurgical makeup of guitar strings. Since the Rhodes’ tines and an electric guitar strings are both interpreted by an electromagnetic pickup before amplification the behavior of the vibrating parts and the metallurgical makeup of the parts themselves have a great impact on the timbre and the sustain characteristics of the instruments. In the case of early Rhodes Mark I pianos the tines were slightly more brittle with warmer bass and mids and brighter highs while the changes leading up to the Mark II piano gave it a more balanced moderately bright tone with more bell like highs and cooler mids and lows. The later tines were also developed to be more robust and had slightly different attack/sustain characteristics than the early tines.

III. Suitcase Model Amplification

Perhaps the single greatest change in Rhodes Mark I design was the change happened with amplifier built into its suitcase model. In 1977, the 80W Peterson design was replaced with an all new 100W design known as the Janus amplifier. Majority of the perceived differences in tone may be derived from the differences in these two systems which both have very subjective trade-offs. The later “Janus” model has better control of the EQ of the instrument while the earlier “Peterson” Design has less control but can be dialed in for great tone. The  Peterson amplifier makes up for the less dynamic EQ sculpting with its warm alnico speakers and the incandescent lightbulbs in its vibrato circuitry that give it a quintessential silky smooth timbre. Both amplifiers have the same controls as one another but with very much their own characteristics within the sets of controls.

(to be continued)…

The final note: Up to 80-90% of the tone of the Rhodes depends on how well it was maintained and how the instrument is set up. Very minor changes in the pickup placement and the escapement levels of the piano will have a significant effect on the tone. These setup differences will have a much greater impact on the tone than the various changes year by year or model by model if you were to compare a poorly maintained instrument to one that was fully restored by our workshop. –If you don’t believe me come on by and check out our instruments for yourself!