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What is it?
Talk to any contemporary keyboard player and the chances are, they will hold an enormous amount of affection for the electro-mechanical piano known as a Rhodes. Much like conventional acoustic pianos, the Rhodes adopts a key and hammer mechanism, but instead of striking a string, the hammer strikes a thin rod, known as a tine. The tine vibrates across a pick up, producing the beautifully identifiable sound, which we intrinsically know as the sound of a Rhodes.
Of course, there’s a little more to it than than that, but as each note on the instrument requires its own set of moving parts, there’s a lot going on under the hood of the instrument, although the instrument itself has significant history.
The version that we tend to think of as the original, is the Mark 1 Stage, which was originally released in 1970. Of course, there have been numerous revisions over the years, but many people still regard the Mark 1 and Mark 2 as the benchmarks, although purists will tell you why one is better than the other. That is until now, because under the direction of renowned keyboardist Dan Goldman, Rhodes is back on the block, and producing amazing hardware and software, with the pinnacle being the flagship Rhodes MK8, now complete with a full FX section and MIDI.
Performance
As any keys player of repute will tell you, the music begins with the action of the keyboard. Unlike other electronic pianistic instruments (which obviously have their benefits) the Rhodes has two aces up at sleeve. Firstly, being electro-mechanical, there is nothing quite like playing an action which offers the resistance of hammers, which is exactly what we have here. Moreover, the second ace up the sleeve is that Rhodes uses a Kluge keybed; this possibly won’t mean very much, until you add that Kluge also supplies legendary piano makers, Steinway. The consequence of this is that you could effectively have a Steinway action available to you as a MIDI controller. That’s insane!
Anyway, back to the action – as a playable proposition, the instrument simply draws you in, and it is beautiful to play. We were inundated with sudden interest, when the review model MK8 arrived. Suddenly, lots of our industry friends and colleagues wanted to come round for a coffee… “oh, and can we try the MK8 while we’re there?”
Amp section
The instrument’s design looks entirely classic, although it has been given a thorough makeover by synth design guru, Axel Hartmann. In its most basic form, the MK8 is available in an original black Tolex style, with a black ABS top/hood. However, at the point of order, you are able to customise the instrument to your own stylings, which includes 13 different hood colours, and a bottom shell made from walnut. We’ve seen the walnut/smoked hood combo, which allows you to see the inner workings of the instrument, and it looks very nice indeed, but these customisable elements will increase the overall cost.
The MK8 still adopts an anodised silver front rail, for that original classic look, but this can also be swapped for a black front rail, at no extra cost. To the left of the rail, is the active preamp section. Much like the original Stage instrument, there are no inbuilt speakers, but you will hear the sound of the tines being struck, as you play. This is where you will need to take an output from the instrument and plug it into some form of amplification or studio monitoring. The good news is, the active preamplifier means that you get a workable signal level to use, which is also clean and pure as a bell! This does mean that the instrument requires power, unlike the original passive Rhodes Stage, but the sonic benefits are huge.
Within the preamp section, located to the left, is a wonderful ‘drive’ circuit (equipped with a basic envelope), which provides the classic distorted sound associated with many rock and fusion recordings, a parametric EQ channel and a tremolo. The Parametric provides a high and low cut/boost, with a mid range parametric, which we found to be extraordinarily useful for picking out certain bands that we wanted to highlight, particularly in the upper-mid register. Moreover, there are some alternative hidden features, available within each section, with the alt-parametric allowing an increase to the mid-frequency resonance, for getting even more squealy.
The Tremolo section is a total boon, particularly as this was never an original Stage option, being reserved for the speaker-bound Suitcase model. Rhodes has extended its tremolo’s functionality considerably, providing four different wave styles, from the original ping-pong square, to more subtle triangle & sine waves. The tremolo section, now described as Vari-Pan, also provides rate and depth control, so you can keep things subtle, unlike the original hard-panned ping-pong, which was more about on or off!
In our testing, we connected the MK8 directly to an audio interface, as well as PA speaker, and in all settings it not only sounded stunning, but provided clarity, definition and detail across all areas. The ability to fine-tune the EQ, particularly with a PA speaker in play, negated the need for an in-line mixer, which in a live scenario, is one less thing to plug in and use.
FX section
Unlike the preamp section, which is a prerequisite of the instrument, the FX panel section is an optional extra, at a cost of £1,299. This does away with the need to connect additional pedals, such as the commonly associated chorus and phaser, but being part of the instrument means that you keep away from earthing issues, not too mention the fact that the four included effects are entirely top-draw quality, and all-analogue in their makeup.
The FX signal path begins with a compressor, which we found to nicely shift from gentle to incredibly aggressive, according to your penchant and tendencies. The compressor is arguably more of a functional effect, but a mere entrée compared to what’s to follow.
The Chorus and Phaser effects are next, both offering immediate control of rate and depth. They both sound extraordinarily good, particularly the phaser, which we couldn’t resist applying to every single sound that we played. Its thickening nature is sublime, and with subtle control of depth, made it possible to use very sparingly – just enough to make a difference in the mix.
All of the FX elements have their own controls, which includes an on/off button. The final effect is a delay, styled very firmly on the best tape-based vintage delays, and while it is also equipped with rotary controls for timing and feedback, a tap tempo button is a total boon for live control. It’s worth noting that the performance elements have been thoroughly thought out. Deactivating the delay results in the signal decaying naturally, rather than switching off abruptly.
Of course, should you prefer to be more traditional in your effect approach, there is an effects loop, which we equally found to be perfect for connecting Small Stone phasers, and the like, but we continually found ourselves coming back to the internal FX, with their immediacies and complexities. The FX section also hosts its own set of alternative modes, for fine adjustment of compression settings or added extras like the ability to adjust phaser frequency.
Coming back to the tremolo, the Vari-Pan rate moves up into the audio spectrum, meaning that there are considerable possibilities for ‘playing’ the pan rate, while also playing the instrument itself. By combining elements such as this with other rate-based effects, the sound of the instrument moved well away from its original timbre.
You can set up a number of CV control aspects too, which logically suggests the attachment of pedals, but you could conceivably connect something Modular, for further chaos, while also connecting instruments to the FX loop input, meaning that you can send an additional instrument layer through the onboard FX channel.
Full sustain
One major improvement over the original instrument, is the total redesign of the sustain pedal. Unlike the original, which relied upon a rod from the pedal, the included sustain pedal is a robustly designed and built unit, which now relies upon a secure connection, with a cable running through it. In real terms, this means that the pedal won’t fail halfway through a gig, remaining connected the entire time.
One of our favourite elements on the instrument, is the inclusion of MIDI out. Being an electro-mechanical instrument, there is no option for MIDI input, but the output (available via convention 5-pin din) opens up a number of options, both for studio and live use.
We had it connected to our computer system for a couple of weeks, and found the whole experience to be beneficial, from the perspective of playing live into the DAW. But undoubtedly, one of our favourite musical excursions, was through the connection of a Waldorf STVC – a string synth and vocoder – which allowed us to layer the Rhodes with classic string synth sounds, and even the odd vocoder patch. Ok, we’re not quite in Herbie Hancock’s musical league, but as a sonic exploration, we managed to lose ourselves for hours!
Double Rhodes
The highly regarded Rhodes app, which provides both Rhodes sounds and FX, is also a great partner for the MK8. With the ability to further layer sounds, which can become more complex within the DAW, a ‘Double-Rhodes’ can be highly productive, although we can’t deny there is a strange sense of irony in doing so.
The MK8 is equipped with two sets of main output, on both XLR and 1/4” jack, and there are options for routing the signal to suit your own requirements. This could be particularly useful for live environments, but while the MK8 is lighter than the original Stage models, it still weighs 34kg, which to our minds, is not a manageable weight for an individual playing down the pub on a Saturday night. In any case, would you really want to take this beautiful instrument out to a venue such as this? No, we don’t think we would, but it is certainly a prospect for a more professional gig setting, providing you have the back-lifting-power to provide porterage.
If external noise is an issue for you, a dedicated headphone output is located on the front of the instrument, just below the keyboard on the left. All the FX head to this output too, which is equipped with its own volume control.
Verdict
In an age of mass-produced consumer electronics, we have to ask ourselves where this instrument resides, as a musical proposition.
The Rhodes MK8 is a sum of parts. It is hand-assembled by people with passion for the instrument, in a new design which has looked at the flaws of the original, and made many considerable improvements. In doing so, they have also cast a musician’s and performer’s eye over the whole instrument.
The result is the Rolls-Royce of Rhodes revisions; from its immense playability, provided by the Kluge keybed, through to the extraordinary quality of the FX and clean outputted signal. It sounds like a brand-new classic Rhodes, but with plenty of capacity to extend the sonic palette to contemporary production. Like any organic and hand-crafted musical instrument, the price reflects its labour intensive build, but the payoff is an undeniable classic, for the modern age.
Hands-on demos
Rhodes Piano
Alternatives
Specifications
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Price |
Starting price from £7,999 (customisable), with optional stand £499 |
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Key features |
73-note electro-mechanical piano Kluge Klaviaturen Gmbh keybed True analogue preamp, with drive and envelope control Sustain pedal included, with new twist-lock and flex-cable attachment Wooden base with ABS hood Requires included power supply Rhodes Stand and FX section – optional Custom colours available XLR and 1/4” jack output MIDI output |
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Weight |
34kg |
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Contact |
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