®

Keyboard Instruments U.S.A.

SERVICE
MANUAL

RHODES Keyboard Instruments D.S.A.

Post Office Box 4137 - 1300 East Valencia
Ful1erton, California 92634
(714) 879-8080
Copyright © 1979 CBS Musical Instruments A Division of CBS Inc.
P/N 34-0119-000 Printed in D.S.A.
 Table of Contents

Page

Section I Latest Design RHODES Piano

Chapter 1 The RHODES Tone Source 1-1

Chapter 2 The RHODES Modular Action 2-1

Damper Release Bar 2-1
Damper Push Rod Assembly 2-2
Damper Module 2-2
Action Rail 2-3
Harp Supports 2-3
Multiple Hammer Flange 2-4

Chapter 3 Instructions For Disassembly 3-1

Harp Cover Removal 3-1
Nameboard Assembly Removal 3-1
Harp Assembly Removal 3-1
Damper Release Bar Removal 3-1
Damper Module Removal 3-2
Hammer Removal 3-3
Removal of Keyboard Assembly from Cabinet 3-3
Stage Piano 3-3
Suitcase Piano 3-4
Action Rail and Harp Removal 3-4
Harp Support Removal 3-5
Cheekblock Removal 3-5
Key Removal 3-5

Chapter 4 Dimensional Standards and Adjustments 4-1

Key Dip 4-1
Escapement 4-1
Damper Clearance 4-3
Damper Module Adjustment 4-4
Tension 4-4
Alignment 4-4
Striking Line 4-5
Re-Establishing Striking Line 4-6
Timbre Adjustment 4-7
Volume Adjustment 4-7

iii
 Table of Contents (Continued)

Page

Chapter 5 Tuning The RHODES Piano 5-1

Electronic Tuning 5-2
Stretch Tuning 5-3
How to Follow The Chart 5-5

Chapter 6 Repair Procedures and Techniques 6-1

Tone Generator Assembly Replacement Procedure 6-1
Key Pedestal Modification Procedure 6·4
Worn Key Bushing Repair Procedure 6-7
Key Cap Replacement Procedure 6-8
Full-Skirt Type Key Cap 6-9
One- And Two-Piece Type Key Cap 6-9

Section II Early Design RHODES Piano

Chapter 7 Early Design RHODES Piano - Tone Source (Prior to July 1975) 7-1
The Tine 7-2

Chapter 8 Early Design RHODES Pianos _o Action (Prior to September 1975) 8-1
The Action 8-1

Chapter 9 Early Design RHODES Pianos - Maintenance and Rejuvenation 9-1

Chapter 10 Early Design RHODES Pianos - Dimensional Standards and Adjustments 10-1
Key Dip 10-1
Damper Control 10-2
Escapement 10-2
Signal Strength 10-4

Section III Electrical and Electronic Service Aids

Chapter 11 Diagrams, Schematics and Pictorials 11-1

iv
 List of Il1ustrations

Figure Page
Number Title Number

1-1 Tuning Fork Comparison 1-1

1-2 RHODES Tuning Fork 1-1
2-1 RHODES Modular Aetion - Single Key View 2-1
2-2 RHODES Damper Modules - Bass, Mid and Treble Configurations 2-3
2-3 RHODES Modular Aetion - Exploded View 2-4
3-1 RHODES Harp/Aetion Assembly - Exploded View 3-2
3-2 RHODES Stage Piano - Bottom View 3-3
3-3 RHODES Suitease Piano Top - Bottom View 3-4
4-1 RHODES Modular Aetion - Single Key Depressed 4-1
4-2 Eseapement Distanees 4-1
4-3 Eseapement Adjustment Loeations 4-2
4-4 Adjustment Loeation 1 4-3
4-5 RHODES Damper Arm - Tension Adjustment 4-4
4-6 RHODES Damper Arm - Alignment Adjustment 4-4
4-7 RHODES Harp/Aetion Assembly 4-6
4-8 Timbre Adjustment Diagram 4-7
4-9 Volume Adjustment Diagram 4-7
5-1 RHODES Tone Bar Assembly 5-1
5-2 Harp Position for Tuning the RHODES 5-2
5-3 Typieal Dial - Eleetronie Tuning Deviee 5-4
5-4 Streteh Tuning Chart 5-6
6-1 Tone Generator Assembly RemovallReplaeement 6-2
6-2 Tine Cutting Measurement Chart 6-3
6-3 Felt Strip - Cutting Line Dimension 6-5
6-4 Key Pedestal - Peneil Line Dimension 6-6
6-5 Key Pedestal - 5/32" Felt Pieee Mounted 6-6
6-6 Key Pedestal- Felt Modifieation Complete 6-7
6-7 Key Bushing Tightener 6-8
6-8 Key Identifieation Chart 6-10
7-1 RHODES First Stage Tone Bar Assembly 7-1
7-2 RHODES Seeond Stage Tone Bar Assembly 7-2
7-3 RHODES Third Stage Tone Bar Assembly 7-2
7-4 RHODES Original Tine Design 7-2
7-5 RHODES Seeond Stage Tine Design 7-3
7-6 RHODES Swaged Tine Design 7-3
8-1 RHODES Original Aetion Design 8-1
8-2 RHODES Seeond Stage Aetion Design 8-1
8-3 RHODES Third Stage Aetion Design 8-2
8-4 RHODES Fourth Stage Aetion Design 8-2
9-1 Tear Drop Hammer Head - Groove Removal 9-1

v
 List of Il1ustrations (Continued)

Figure Page
Number Title Number

9-2 Tear Drop Hammer Head - Reshaping to Striking Line 9-1

9-3 RHODES Hammer - Shim Placement 9-3
9-4 Early Design Damper 9-3
9-5 Double-Shoulder Hammer Head 9-4
9-6 RHODES Early Design Harp/Action Assembly - Cut-Away View 9-5
10-1 RHODES Early Design Single Key View 10-1
10-2 RHODES Early Design Harp/Action Assembly - Exploded View 10-3
10-3 RHODES Original Pickup Coi! Series/Parallel Arrangement 10-4
10-4 RHODES Modified Pickup Coil Series/Parallel Arrangement 10-4
10-5 RHODES Bus Wire Re-Routing Diagram 10-4
11-1 Schematic - Preamplifier Assembly - 100 Watt Suitcase and Janus I 11-2
11-2 Printed Circuit Board - Preamplifier Assembly - 100 Watt Suitcase
and Janus I 11-3/11·4
11-3 Schematic - Dual 50 Watt Power Amplifier - 100 Watt Suitcase and
Janus I 11-5
11-4 Schematic - Power Amplifier - Janus I 11-6
11-5 Printed Circuit Board - ±15 Volt Regulator - 100 Watt Suitcase
and Janus I Power Amplifier 11-7/11-8
11-6 Printed Circuit Board - 50 Watt Power Amplifier - Suitcase Piano 11-9/11-10
11-7 Printed Circuit Board - 50 Watt Power Amplifier - Janus I 11-11/11-12
11-8 Schematic - Preamplifier - 80 Watt Suitcase and Super Satellite 11-13
11-9 Schematic - Power Module - 80 Watt Suitcase 11-14
11-10 Schematic - Power Supply Regulator Assembly (Peterson Design) -
80 Watt Suitcase 11-15
11-11 Circuit Board Assembly - Power Supply Regulator (Peterson Design) -
80 Watt Suitcase 11-16
11-12 Schematic - Power Amplifier, Master and Slave - Super Satellite 11-17
11-13 Schematic - Power Control PaneI, Master - Super Satellite 11-18
11-14 Schematic - Power Control PaneI, Slave - Super Satellite 11-19
11-15 Schematic - Converter Kit I 11-20
11-16 Schematic - Converter Kit II 11-21
11-17 Schematic - Preamplifier and Power Amplifier (Jordan Design)-
Suitcase Piano (Pre 1969) 11-22
11-18 Connection Diagram - All Printed Circuit Boards - Instructor Console 11-23
11-19 Schematic - Preamplifier and Power Amplifier - Student Piano
(First Version - 1968) 11-24
11-20 Schematic - Preamplifier and Power Amplifier - Instructor Piano
(First Version - 1968) 11-25
11-21 Wiring Diagram - Instructor Console 11-26
11-22 Schematic - Master Circuit Board - Instructor Console 11-27
11-23 Schematic - Power Supply - Instructor Console 11-28

vi
 ACKNOWLEDGEMENT

Appreciation is due to all who have been involved in producing

this manual. Specifically, to our Sales Force, the Retail and
Service dealers and the artists who offered suggestions. Last, but
by no means least, to our own highly qualified Product Devel-
opment, Production, Service and Marketing personnel whose
many hours of labor and years of expertise have produced what
we believe to be a comprehensive aid to servicing and under-
standing the RHODES Piano.

RHODES Keyboard Instruments D.S.A.

VIl
 FOREWORD

Since its inception in 1965, the RHODES Piano has remained relatively
constant in terms of design concept. However, there have been changes in
the methods of achieving those design concepts.

Those concepts which have remained constant throughout the history of the
RHODES are:

1. Method of Tone Production. As will be shown in detail, the

Tone is produced by a series of modified tuning forks (one
for each note) referred to as "Tone Bar Assemblies." Each
such assembly lies adjacent to an adjustable Pickup. The
Pickup Coils are all alike and are adjustable as to gap very
much as are the points on the Distributor of an automobile.
Because of the unique construction features, each note can be
adjusted for Volume, Timbre and Pitch.

2. The Action. Consisting of only three moving parts, the

Action is unique in designo While the structure and materiaIs
used have changed, the concept has remained unchanged.

This Manual has a two-fold purpose; one, as a maintenance and repair

guide; and two, as a detailed description of the various vintage models
together with instructions for upgrading and modernizing the various
models wherever possible.

viii
 SECTION I

LATEST DESIGN RHODES PIANO

 CHAPTER ONE
THE RHODES TONE SOURCE

The unique tone of your RHODES Piano derives from the principIe of the tuning fork. While
the eommon tuning fork has two legs of equal length and mass, the tuning forks in your
RHODES Piano differ from these in one very important way (Figure 1-1). The two prongs
of our tuning fork are not of the same mass, shape or size. They are alike only in piteh.
The lower, more resilient leg (Tine) responds visibly to the blow of a Hammer by vibrating
in a wide are at a eertain frequeney.

[==\ C
RHODES TUNING FORK TYPICAL TUNING FORK

_
I:: . . ---
TUNING SPRING
Figure 1-1. Tuning Fork Comparison

The upper leg (Tone Bar), while not so visible, does vibrate at the same frequeney. The
importanee of this upper leg ean easily be demonstrated by the following simpIe experiments.

1. Strike any note, preferably in the mid-range of the Piano. With the Sustain Pedal
down, squeeze the upper leg with the fingers. The tone will die immediately.

2. Perform the same experiment, but this time toueh the upper leg very lightly.
The vibration will be distinetly felt under the fingers.

This patented eoneept of the tuning fork offers many advantages (Figure 1-2). One of these is
that the upper leg (Tone Bar) supports some piteh variation in the lower leg (Tine). ln other

LOWER
~~~-TONE
PITCH
BAR

. TUNING
SPRING

RAISE
PITCH

Figure 1-2. RHODES Tuning Fork

1-1
words, assuming G to be the target pitch, the lower leg could be deliberately tuned to F, F#,
G, G# or A without any appreciable loss of support from the upper lego This opens up a
world of possibilities, as will be shown.

You will note a smalI coil Spring on the lower leg so designed as to be a tight fito This coil
Spring acts as a counter-weight and, therefore, as a pitch contraI. Moving this Spring will result
in a change of pitch. By this means, then, it is possible to arrive at a fine tuning merely by
sliding the Spring to the desired spot on the Tine. See Tuning Your RHüDES Piano, Page 5-1.

The Tines in your RHüDES Piano, like the strings of a guitar, are subject to breakage under
stress. We here at the factory are constantly on the alert for ways to achieve the longest
possible life in these as well as in alI other component parts of your Piano. ln actual tests,
Tines picked at random have withstood in excess of 6,000,000 blows in a test machine. This
machine is so constructed as to simulate actual playing conditions. Despite this, steel wire of
even the finest quality, invariably has flaws along its surface. If these microscopicalIy smalI
flaws occur in a node point, they can become the point of eventual fracture. This is offered
to explain the fact that, while one person's Piano may play for many years under constant use
with no more than a couple or three broken Tines, another musician may experience a
similar breakage within a shorter period of time.

For reasons just described, the Tines cannot be covered in the general warranty of the Piano.

ln anticipation of this, we have devised a simple procedure for replacement - one which the
musician can perform in about the time it takes to replace a guitar string. Refer to Tone
Generator Assembly Replacement Procedure, Page 6-1.

1-2
 CHAPTER TWO
THE RHODES MODULAR ACTION

DAMPER RELEASE BAR

The Damper Release Bar (Figure 2-1, 22) provides a foot-activated mechanical means of
disengaging all Dampers allowing all Tines to vibrate freely.
11

6 14

3
4 o

r--"'~~---_==:==c:r=''''==:5:J=============-eJ1l4Jl---J
37 36--:![

35

REFERENCE DESIGNATION
1. Front Guide Pin Felt 15. Hammer 28. Action Rail Mounting
2. Front Guide Pin 16. Bridle Strap Screw
3. Key Cap 17. Damper Module 29. Action Rail
4. Key 18. Damper Felt 30. Harp Support-To-Action
5. Balance Rail Felt 19. Tuning Spring Rail Mounting Screw
6. Harp Support 20. Pickup Assembly 31. Damper Module
7. Tone Bar Assembly 21. Pickup Adjustment Mounting Screw
Mounting Spring Screw 32. Push Rod Assembly
8. Tone Bar Assembly 22. Damper Release Bar Top Felt
Mounting Grommet 23. Damper Release Bar 33. Push Rod Assem bly
9. Tone Bar Assembly Pivot Pin 34. Push Rod Assem bly
Adjustment Screw 24. Damper Release Bar Balance Pivot
10. Tone Generator Pivot Pin Locking 35. Push Rod Assem bly
Mounting Screw Screw Bottom Felt
11. Tone Bar 25. Damper Release Bar 36. Action Rail Mounting
12. Tone Generator Felt T-Nut
Assembly 26. Multiple Hammer 37. Keybed Felt
13. Tine Flange 38. Key Pedestal
14. Hammer Tip 27. Key Pedestal Felt

Figure 2-1. RHODES Modular Action - Single Key View

2-1
The Damper Release Bar is locked in place by two Pivot Pins (Figure 2-1, 23) which slide
into two bushed holes provided in the aluminum Harp Supports (Figure 2-1, 6). These pins
are held in place by two locking Screws (Figure 2-1, 24).

DAMPER PUSH ROD ASSEMBLY

The Damper Push Rod Assembly (Figure 2-1, 33) is a short length of wooden dowel capped
on each end with felt and held in place by a sleeve built into the back structure of the
Piano housing. Forced upward by the thrust of the Sustain Rod, it, in tum, pushes upward
on the back surface of the Damper Release Bar causing its leading edge to bear downward
on all of the Dampers thus disengaging them from the Tines. With the Dampers thus
released, all Tines are now free to vibrate sympathetically with the struck tones as is the
case with an acoustic piano. The difference becomes apparent when a comparison is made
between the resultant sound of a chord where only those Dampers involved with a particular
chord are released and then the sound of the same chord when all Dampers are released.

1. The Damper Push Rod, in its rest position, should bear solidly against the back surface
of the Damper Release Bar. An ideal setting would be that where all play between
the Damper Release Bar and the Damper Arms is removed. This can be accomplished
by adding felt either to the top of the Push Rod or to the mating surface of the
Damper Release Bar. Extreme care should be exercised to avoid possible disengage-
ment of the Dampers. Conversely, it can be seen that excessive play or lag in the link-
age will result in a loss of touch sensitivity by the foot.

2. SUITCASE PIANO ONLY:

ln its rest position, the bottom surface of the Push Rod should be reasonably flush
with the outer surface of the bottom of the Piano. There is a slot on the top surface
of the Sustain Rod providing screw-driver adjustment on the top of the Amplifier
Enclosure.

DAMPER MODULE

The Damper Arms are now provided in fixed multiples of twelve known as Damper Modules
(Figure 2-1, 17). This change was made to preclude the possibility of side shift in shipping
and is the epitome of simplicity. It consists of tempered aluminum stamped into Modular
configurations to accommodate the Damping requirements in Bass, Mid and Treble ranges
(Figure 2-2).

The Bass Damper Module is shortest with full width Arms to provide the strength and tension
needed to properly damp the long Tines in the Bass area. Progressing up the Keyboard to
the Treble, the Tines become shorter and therefore the Damper Modules are designed to

2·2
r-
~

1
-
-
-
-

"
r-
I--
-
'-

[
c- c- - , - -

f-

r
,
-

:1[
r- c-

I-- '-"

[ ]
" c'
R
I ~r
I i IIi
i
r
1 I

: í

o o o o

Figure 2-2. RHODES Damper Modules - Bass, Mid & Treble Configurations

provide graduated strength and tension according to the need throughout the range of the
Keyboard. ln keeping with the various damping requirements, the Damper Felts as well are
designed to accommodate the three areas - the Bass with long, wide Felts; the Middle
with Felts of medium length and width; and the Treble which uses short, narrow Felts.

ACTION RAlL

With the Damper Release Bar and the Damper Modules removed, the new Action Rail
(Figure 2-1, 29) is revealed to be a sturdy, extremely accurate aluminum extrusion.

HARP SUPPORTS

The new Harp Supports (Figure 2-3, 9) are fabricated from heavy aluminum extrusions sturdy
enough to hold the assembly in place undamaged by a direct six-foot drop.

MULTlPLE HAMMER FLANGE

The Hammer Flange (Figure 2-3, 18) is molded in multiples of twelve. This aIso was
redesigned in this manner to preclude the possibility of side shift in shipping.

It should be noted that the Multiple Flanges are molded of a hard A. B. S. material with a
15% teflon content, thus providing lifetime lubrication.

2-3
 REFERENCE DESIGNATION

L Keybed 1lo Damper Release Bar 2lo Action Rail

2. Cheekblock Pivot 22. Key
3. Cheekblock Rear 12. Damper Release Bar 23. Nameboard Mounting
Mounting Screw 13. Pivot Mounting Screw Screw
4. Harp Support Mount- 14. Damper Module 24. Nameboard
ing Screw Mounting Screw 25. Key Cap
5. Keybed Mounting Screw 15. Damper Module 26. Guide Pin
6. Captive-Washer Mount- 16. Damper Felt 27. Guide Pin Felt
ing Nut 17. Hammer Flange 28. Cheekblock Front
7. Harp Support-to -Action Mounting Screw Mounting Screw
Rail Mounting Screw 18. Multiple Hammer
8. Washer Flange
9. Harp Support 19. Hammer
10. Nylon Pivot Bushing 20. Hammer Tip

Figure 2-3. RHODES Modular Action - Exploded View

2-4
 CHAPTER THREE
INSTRUCTIONS FOR DISASSEMBLY

Access to the specific areas for needed adjustments or repair is easily accomplished by follow-
ing the procedures outlined here.

1. Harp Cover Removal

The Cover is formed of A. B. S. material and is practically impervious to damage. To

remove, lift up on the two back corners of the molded topo With this done, simply
pull the front edge free.

2. Nameboard Assembly Removal

Disconnect Harp Cable from Harp Jack. With a #2 Phillips Screwdriver, loosen and
remove the four (4) screws which mount the Nameboard to the Cheekblocks (two
(2) of which are found behind the Nameboard on each end). After removing screws,
lift Nameboard Assembly up and away.

3. Harp Assembly Removal

The Harp Assembly (Figure 3-1) consists of three major assemblies: The Harp Frame,
the Tone Bar Rail and the Pickup Rail.

The Tone Bar Rail and the Pickup Rail are seated into the Harp Frame and secured
by fourteen (14) Mounting Screws. Two metal Harp Brackets are then mounted to join
the two.

The Harp Assembly is secured to the two aluminum Harp Supports by four (4) Screws
(two (2) on each end) as well as the Harp Pivot Links located on each end. Complete
removal of the Harp, then, is accomplished by removing the four Mounting Screws as
well as the two Screws which secure the Harp Pivot Links.

4. Damper Release Bar Removal

The Damper Release Bar (Figure 2-3, 12) is secured to the aluminum Harp Supports
by two removable Pivot Pins (Figure 2-3, 11).

a. Loosen one Screw (Figure 2-3, 13) on either end of the Damper Release Bar.

b. With a small flat-blade screwdriver, slide the Pivot Pin out from the Damper
Release Bar through the Nylon Bushing (Figure 2-3, 10) in the Harp Support
(Figure 2-3, 9).

3-1
 HAAP MOUNTING

ri
SCAEWS /HARP ASSEMBL Y
PICK-UP RAIL

I HAAP BRACKET
I I
I I
I I
HARP I
PIVOT
L1NK

HAAP -----;~
SUPPOAT

Figure 3-1. RHODES Harp/Action Assembly - Exploded View

c. Slide the entire Damper Release Bar loose from the Bushing in the other Harp
Support.

Removal of the Damper Release Bar is required ln order to reach the Damper Modules
for adjustment or rem oval.

5. Damper Module Removal

a. Remove Damper Module Mounting Screws.

b. CarefuIly push down on each Damper Arm with one hand and gently puIl Bridle
Strap forward with the other hand so as to slide Bridle Strap away from the
formed tongue in the Damper Arm without causing damage to the tongue.

c. PuIl Damper Module out of detent lip in Action Rail.

3-2
 6. Hammer Removal

It is not necessary to unscrew or displace any of the supporting structures to remove

a Hammer. Hold the Hammer Head with the thumb and index finger then rotate
either left or right while at the sarne time twisting on the vertical axis until the
protruding ear (pin) pops out of the Hammer Flange. Then, simply lift out, exercising
care to ease the Bridle Strap off the Damper Arm Tongue.

7. Removal of Keyboard Assembly from Cabinet

CAUTION

This procedure should be accomplished with the Nameboard

Assembly mounted to prevent the Keys from falling out.

Stage Piano

a. Position the Piano so that the Keys are pointing up with the bottom surface of
the Cabinet facing you (Figure 3-2).
~
V ,~

@ ~ 1"-1

2,
~ /2
'9 (/"

@ @
~ @ r;
Figure 3-2. RHODES Stage Piano - Bottom View

CAUTION

Before proceeding with Step b., support the Keybed with one
hand to prevent the Keybed fram falling out when the Mount-
ing Screws are removed.

b. Using a #2 Phillips Screwdriver, remove the two Screws (Figure 3-2, 1) which
secure the Cabinet to the Cheekblock cleat on the Keybed.

c. Remove the two large Screws (Figure 3·2, 2) which mount the Keybed to the
Cabinet.
•

3-3
 d. Place Piano on its bottom surface and remove Keyboard Assembly by lifting out
of Cabinet.

Suitcase Piano

Proceed as with a Stage Piano, again observing the CAUTION on the previous page,
fol1owing Steps a, b, and c. ln addition, since the bottom surface on the Suitcase
Piano is of a thinner plywood than the Stage Piano, the four Glides (Figure 3-3, 1)
must be removed as wel1. Proceed with Step d.

\ I
@

1 1

! o
\
Figure 3-3. RHODES Suitcase Piano Top - Bottom View

8. Action Rail and Harp Support Removal

NOTE

The Action Rail is securely locked to both Harp Supports by

means of the Harp Support-To-Action Rail Mounting Screws.
While these Screws can easily be removed, it is suggested that
the two Harp Supports and the Action Rail be maintained as
a 3-piece Assembly.

a. Place the Keyboard on its bottom surface as in a playing position.

b. Remove the Captive-Washer Nuts that secure the Harp Supports to the Keybed.

c. Exercising care not to lose the T-Nuts from the under side, remove the Action
Rail Mounting Screws.

d. Grasp the Action Rail with both hands and lift off the three-piece assembly.

3-4
 9. Harp Support Remov~l

a. Disassemble Piano as outlined through 7. b.

b. Remove the Harp Support-To-Action Rail Mounting Screws.

c. Lift Harp Support up and away from Action Rail.

10. Cheekblock Removal

This operation is accomplished by removing both the front and rear Cheekblock
Mounting Screws.

11. Key Removal

After removing the Nameboard Assembly, simply lift up on the front of the Key
to free it from the front and center Guide Pins, then pull the Key out from under
the Hammer.

3-5
 CHAPTER FOUR
DIMENSIONAL STANDARDS AND ADJUSTMENTS

Thís chapter deals with the important dimensional standards for maximum performance of
your RHODES Piano and adjustments available to maintain that performance.

1. Key Dip. The distance of downward traveI of the Key Front (Figure 4-1, 1) is called
"Key Dip." This dimension should be 3/8" ± 1132", that is, from 11/32" to 13/32"
(9.525 ± 0.794mm or 8.731mm to 10.319mm).

Figure 4-1. RHODES Modular Action - Single Key Depressed

CAUTION

When Key Dip is changed, reestablishment of Escapement

and Striking Line is required.

2. Escapement. The gap remaining between the Hammer Tip and the Tine (Figure 4-1, 3)
wíth the Key depressed is called "Escapement". This Dimension varies from the
extreme Bass (left) Tone Bar to the extreme Treble (right) Tone Bar and should be
as follows (Figure 4-2).
I

In~--~CC{ _.~ ~J:c~i==

/~ I~
EXTREME BASS TONE BAR
/
TONE BAR 41
i
I
1/16" TO lia"

/
/ 1
I
1/32" TO 3/32"

EXTREME TREBlE TOI\JE BAR

1/4" (6.350mm) IVIINIMUM 1/16" (1.588mm) MINIMUM 1/32" (O.794mm) MINIMUM
3/8" (9.525mm) MAXIMUM 1/8" (3.175mm) MAXIMUM 3/32" (2.381mm) MAXIMUM
Figure 4-2. Escapement Distances

4-1
The philosophy behind this variation is that while the ideal Escapement for the most respon-
sive touch is 1/32" (0.794mm), the whipping action of the Tine in response to the Hammer
blow increases as it becomes longer toward the Bass end of the Keyboard making this ideal
setting impossible.

ln order to maintain touch sensitivity through Escapement variation, the Neoprene Hammer
Tips are graduated in height as well as hardness from extreme Bass through extreme Treble.

There are presently five gradation of hardness in the Hammer Tips and therefore, correspond-
ing height differences. They are:

Durometer Reading
Hammer Tip Number (Hardness) Height

1 through 30 30 1/4" (6.350mm)

31 through 40 50 5/16" (7.938mm)
41 through 50 70 3/8" (9.925mm)
51 through 64 90 7/16" (11.1l2mm)
65 through 88 Wrapped (extra hard) 7/16" (11.1l2mm)

As is apparent from the above chart, there is a 1/16" (1.588mm) height increase from one
Hammer Tip section to the next, except in the extreme Treble area, or 3/16" (4.762mm)
overall Hammer Tip height increase from Bass to Treble (left to right).

The precise change points of the Hammer Tips are subject to individual taste. While the
factory settings are listed above, some musicians prefer to continue the Tips of the 90 durom-
eter c1ear up to Hammer Number 67 or beyond. This is done to avoid the sharp change in
tone characteristics experienced as a result of the difference in Tip hardness. This provides
further opportunity for customizing in accordance with individual taste.

A quick glance at Figure 4-3 will reveal that there are two ways of achieving a fine, custom
adjustment of the Escapement Distances.

Figure 4-3. Escapement Adjustment Locations

4-2
 a. Each of the Tone Bar Assemblies is separated from the Tone Bar Rail by two
adjustable coil Springs. By means of these, the height of each Tone Bar Assembly
can be raised to 112" (12.700mm) or lowered to 3/16" (4.762mm) - factory
setting is 3/8" (9.525mm). From Figure 4-4 it can be observed that this adjust-
ment increases or decreases the Escapement Distance.

INCREASED
FACTORV
ESCAPEMEN~
SETTING,
-- ~
---- Ir
=-~
fí-
! \

Figure 4-4. Adjustment Location 1

NOTE

Any major change of adjustment by this means requires

re-alignment of Timbre, Volume and Damper Settings.

b. Adding or subtracting shims from the Harp Supports (Figure 4-3, 2) should be
resorted to ONLY for the purpose of establishing Escapement at the extreme
Bass (left) Tone Bar (114" minimum to 3/8" maximum) (6.350mm minimum to
9.525mm maximum) and the extreme Treble (right) Tone Bar (1132" mmmmm
to 3/32" maximum) (O.794mm minimum to 2.381mm maximum).

Having been introduced to the adjustments available to you in achieving the best Escapement
settings for optimum touch response, you should strive to tailor the Escapement settings in
accordance with the particular style of play employed by the person who plays the Instru-
ment. A sensitive musician will be looking for extremely dose settings in the Mid- and Upper-
range. A musician who plays heavy, strong octaves in the Bass area will require even greater
Escapement distances in the left hand area. Thus, you now have the tools to customize the
action to the individ ual tastes and needs of the musician.

3. Damper Clearance. Although the Bridle Strap is part of the Hammer Assembly, it
functions as an integral part of the Damper System. It is designed to engage a "Hook"
which is formed into the arm of the Damper Module at approximately its mid-point.
As the Hammer swings upward, the Bridle Strap pulls the Damper Arm downward
thus disengaging the Damper Felt fram the Tine. As the Hammer Tip strikes the Tine,

4-3
 the Damper is at the point of maximum Clearance (Figure 4-1, 4) allowing the Tine
to vibrate unimpeded. Damper Clearance should be 3/8" to 1/2" (9.525mm to
12.700mm).

4. Damper Module Adjustment. The Damper Module is subject to easy adjustments. With
the Hammer in its rest position, the Damper Felt (Figure 2-3, 16) should bear against
the Tine sufficiently firm so that the sound will be damped immediately following the
Hammer blow. Conversely, the Damper ideally c1ears the Tine by at least 3/8" to 1/2"
(9.525mm to 12.700mm) when the Key is depressed.

To maintain this relationship, there are two adjustments possible.

a. Tension. Each Damper Arm is actually a Leaf Spring. Tension can be increased or
decreased by "ironing" a slight curve in the part with your two fingers. Another
way is to pull upward or downward on the arm at Point "A" (Figure 4-5).
Added tension will result in a stiffer Damper response.

,
Figure 4-5. RHODES Damper Arm - Tension Adjustment

b. Alignment. With Tension thus established, proper Damper coordination is achieved

by bending the forward portion of the Damper Arm up or down (Figure 4-6).

Figure 4-6. RHODES Damper Arm - Alignment Adjustment

There are four possible conditions which could result in malfunction.

CONDITION SOLUTION

The Tine is out of adjustment in its The factory setting places the Tines slightly
vertical aspect (Escapement). above dead center of the Pickup. See Timbre
Adjustment, Page 4-7.

4-4
 CONDITION SOLUTION

The Damper Release Bar is bearing down See Damper Push Rod Assembly, Page 2-2.
excessively, thus disengaging or partially
disengaging the Damper from the Tine.

The Damper Arm has sustained damage Remove Damper Release Bar and disengage
sufficient that it no longer bears firmly Bridle Strap. With Damper Arm thus free, note
against Tine (Tension). if it assumes a pasition similar ta the neighbar-
ing Arms. If so, bend upward slightly on the
surface nearest the point where it is mounted ta
Action Rail. The aluminum is of an alloy pur-
pasely chosen ta invite this type of adjustment.
Caution should be exercised to avoid excessive
correction which wauld result in some lass of
tauch control due to the strong resistance thus
introduced in appasition ta the upward traveI
af the Hammer.

The leading edge of the Damper has been With Bridle Strap in place and having deter-
bent downward. The leading edge referred mined that none of the first three conditions
ta is that partian of the Damper Arm exist, notice whether the particular Damper
which extends farward fram the Bridle Felt is in approximate vertical alignment with
Strap tongue and thus actually provides the neighboring Felts. If nat, with the fingers
adjustment passibilities in terms of higher of two hands, bend this partion af the Damper
or lower setting af the Damper Felt Arm upward while exercising care that in daing
(Alignment ). so, you do nat disturb the canfiguration af the
back portion of the Damper Arm, and thus
inadvertantly introduce the previous condition.

5. Striking Line. "Striking Line" is the term used to describe the best place along the
length af each Tine ta aim the striking edge of the Hammer. Like the "sweet spot"
af a baseball bat, there is a point of maximum respanse. This was determined by a
painful trial process and resulted in the precise curve given to the Tane Bar Rail.

Proper Striking Line is assured by setting the Harp in such a way as ta arrive at an
appraximate dimension of 2-114" (57.150mm) between the leading edge af the
Hammer Tip and the leading edge of the Tone Generator (Figure 4-1, 2). This dimen-
sion shauld be taken at the extreme Bass (left) Tone Bar. At the extreme Treble
(right) Tone Bar, this dimension is appraximately 118" (3.175mm).

4-5
 RE-ESTABLlSHlNG STRlKlNG LINE

1. Remove the Harp/Keybed Assembly from the Cabinet following procedures outlined m
Chapter Three.

2. To re-establish proper Striking Line, remove two (2) Harp Mounting Screws (Figure 4-7)
on the Bass (left) side of the Harp and one (1) Harp Mounting Screw on the Treble
(right) side of the Harp located closest to the Keys. Loosen but do not remove the
remaining Screw. ln addition, remove one (1) Harp Pivot Link Mounting Screw on the
Bass (left) side of the Harp which attaches the Harp Pivot Link to the thread-grooved
slot formed in the side of the Harp Support.

HARP

r
: 1/
MOUNTING
SCREWS

,v!1
!
HARP
MOUNTING
SCREWS
I
I
I
I
I

I I
I I
I

HARP
PIVOT
L1NK
MOUNTING
SCREW

Figure 4-7. RHODES Harp/Action Assembly

3. While striking Middle C, slide the Bass (left) side of the Harp forward and back until
ultimate tone clarity and volume response is achieved. Move on to F below Middle C
then to C below Middle C following the sarne procedure. Because of the precise curve
of the Harp, when these three notes satisfy your ear, all others will be within tolerable
limits.

4-6
 4. When the new Harp location has been established, use extra holes provided or sink
new holes through the steel Harp Frame and through the top surface of the aluminum
Harp Supports using a #7 drill. Secure the Harp by re-installing the Harp Mounting
Screws.

5. Attach the Harp Pivot Link by re-installing the Harp Pivot Link Mounting Screw along
the thread-grooved slot on the side of the Harp Support.

6. Mount the Harp/Keybed Assembly in the Cabinet by reversing the disassembly proce-
dure outlined in Chapter Three.

TIMBRE ADJUSTMENT

Timbre Adjustment is accomplished by manipulating the Timbre Adjustment Screw (Fig-

ure 2-1, 9) until the end of the Tine rests on a plane slightly above dead center of the
Pickup (Figure 4-8). Let your ear guide you in this procedure.

PICK-UP

PUREFUNDAMENTAL MORE OVERTONE

<G,&-
PURE OVERTONE
(DEEP) (IDEAL) (SHALLOW)

Figure 4-8. Timbre Adjustment Diagram

VOLUME ADJUSTMENT

Slide Pickup Arms in or out to establish a gap between Pickup and Tine of between 1116"
(1.588mm) and 1/8" (3.175mm) as shown in Figure 4-9.

: \

LOWVOLUME IDEAL TOO CLOSE

Figure 4-9. Volume Adjustment Diagram

4-7
It should be noted that the smaller the gap between Tine and Pickup, the greater the volume
of sound. More important - the more pronounced the DYNAMIC RESPONSE.

By Dynamic Response is meant "percentage of volume increase in response to increased

weight of touch." ln Pianos built since March 1972, a gap of 0.020" (0.50S0mm) can be
accommodated in the middle and upper ranges.

NOTE

When Timbre and Volume Adjustments are made,

Pitch should be re-established. See TUNING THE
RHODES PIANO, Page 5-1.

4-S
 CHAPTER FIVE
TUNING THE RHODES PIANO

General1y speaking it can be said that the Piano will not "go out of tune". Certainly it does
not go general1y out of tune over the entire Keyboard as does the traditional string piano.

What may happen is that one or more notes may go out of tune because of a loose Tuning
Spring or as a result of Tine fatigue under the stress of constant heavy blows. Under these
conditions tuning simply requires pitch comparison with the tone an octave below and shift-
ing of the Tuning Spring until pitch alignment is achieved. ln the case of extreme Tine
fatigue, the Tine should be replaced.

An extremely helpful feature is the easy removal of the Tone Generator Assembly (Tine
portion) from the Tone Bar by unscrewing the Tone Generator Mounting Screw; thus, should
a Tine become damaged for any reason, replacement will be easy and inexpensive. Replace-
ment Tone Generator Assemblies are available in Kit form, with the Tine 4-3/8 inches
(111.125mm) in length. This length Tine will accommodate the "Heavy Traffic" area where
the highest incidence of fatigue and breakage is likely to occur. These can be cut to desired
length with a pair of side-cutters. For detailed removal and replacement procedures, refer to
Chapter 6, Page 6-1.

On each Tine there is a crimped coil Spring so fitted that it can be moved by hand with
some effort (Figure 5-1). By design it fits tightly enough to resist normal stresses. Ideal1y, it
remains fixed firmly in place unless deliberately moved.

TUNING SPRING

Figure 5-1. RHODES Tone Bar Assembly

This Spring acts as a counter-weight and thus provides a vernier contraI of pitch. Moving it
outward, away from the fixed end of the Tine, will cause a drop in pitch. Conversely, mov-
ing it inward, toward the fixed end of the Tine, will cause a rise in pitch. The total range
thus achieved could be as much as 1-1/2 steps above or below optimum.

Theoretically and ideal1y, once set, the pitch remains unchanged until deliberately altered by
purposed relocation of the Tuning Spring (counter-weight). Pitch control by this means is not

5-1
as difficult a task as with a standard piano. The novice is invited to test his skill by taking
the fol1owing steps.

1. Remove the Harp Mounting Screws and rotate the Harp to a vertical position
(Figure 5-2).

---=-----...,.....,,-,...:::!C""::=:;;;;;--- TO I\! E BA R RA I L

Figure 5-2. Harp Position For Tuning The RHODES

2. Mark the letter names of the Tone Bars on the Tone Bar Rail.

3. With the amplif~ and speaker on and volume up, pluck the Tine at Middle C with
the finger of the right hand. At the sarne time, pluck C an octave below Middle C
with the left hand.

4. Move the Tuning Spring at Middle C slightly upward so as to cause a slight rise in
pitch.

5. As you continue to pluck both Middle C and C an oetave below, slowly slide the
Spring back.

6. As you do this, you will observe the fol1owing phenomenon. As the upper C
approaches synchronization with the low C you will notice a beato As the middle C
approaches maximum synchronization the speed of the beat will redu ce.

7. Continue this process until there is no longer a discernable beato Repeat this entire
procedure several times until you become familiar with the technique. With some
practice you should be able to restore pitch synchronization within five seconds.

5-2
 8. Proceed up and down the Keyboard precisely as you would with a string piano. The
job will be much easier in this case since there will be no need to tune unisons.

ELECTRONIC TUNING

There are several brands of electronic tuning devices on the market. Most of these operate
roughly on the principie of the strobe light. There is a spinning disk, the speed of which is
accurately calibrated. A control knob allows for scale tone changes. Assuming you set the
control dial at C, there is a microphone which "hears" the pitch of the Bar you are tuning.
Its vibrations are interpreted as flashes of light. These in turn are superimposed on the
spinning disk. If the two are in synchronization, the wheel will appear to be stopped. If the
Tone Bar is high in pitch, the wheel will appear to rotate c1ockwise, etc. Moving the Tuning
Spring downward will slow the speed of the Tine. This will cause the strobe wheel to slow
its movement until finally, when your adjustment is correct, the wheel will stop, indicating
that the Bar is "in tune".

The various electronic devices have another feature - some are more sophisticated than
others. It is a deliberate and controllable means of calibrating the entire mechanism with
reference to the 60 cyc1e signal coming from the electrical outlet. With calibration th us
achieved and with the control dial set at Zero, the machine supposedly is now set at A440.
This is a standard arbitrarily determined as an international standard and means merely that
A above Middle C will vibrate at precisely 440 vibrations per second. Because of such a
standard, it is possible to tune an instrument in California with reasonable assurance that it
will be "in tune" with a piano in New York. Or, that 24 pianos delivered to a school as a
"Iab" will all arrive tuned alike.

Certain musicians will demand a more sensitive tuning than what would be the result if the
tuning machine were set at A440 for the duration of the entire tuning procedure. This
brings up a term known as "Stretch Tuning".

STRETCH TUNING

Stretch tuning is a procedure widely followed by the piano tuning profession. It recognizes
a phenomenon of the human ear whereby tones in the upper range of a keyboard will
sound "flat" even though they are calibrated with extreme precision. Fortunately for all,
a consensus has long since been agreed upon as to the exact amount of stretching. A piano
so tuned creates the impression of great tonal brilliance. Preliminary to a description of
stretch tuning, a bit more basic information is in order.

For the purpose of standardization, the word "semitone" is used to describe the difference
in pitch between any tone and the tone 112 step above. One one-hundredth part of a
semitone is called a "cent". Thus, to raise a certain tone "one cent" is to raise it from its
original A440 setting by one one-hundredth of a semitone.

5-3
All electronic tuning devices make use of this standard and have adiaI by which the tech-
nician can deliberately change the basic setting of a given tone by as many "cents" above
or below a given optimum as he chooses, merely by altering the setting on the dial of his
tuning device (Figure 5-3).

Figure 5-3. Typical Dial - Electronic Tuning Device

Armed with this standard, it now becomes possible for the technician to plot with preClSlOn
the exact degree of stretch and to achieve exact synchronization of tuning between two
instruments even though one may be tuned in New York and the other in California.

"Stretch Tuning", as described here, means the deliberate and precise raising or lowering in
pitch of a given range of tones along the scale by one or more "cents" according to a pre-
determined standard.

NOTE

RHODES Pianos are not stretch tuned at the factory.

Instead, they are tuned to equal temperamento

The schedule offered here is a carefully determined approximation. This schedule is the
result of the collective tuning experience of a great number of qualified concert tuners.

Since this is an approximation, deviation from this in qualified hands is certainly allowable.
However, with the tools just described, it is also possible to plot with equal precision the
exact degree of deviation decided upon. The end result then, will be that two pianos so
tuned will synchronize with such precision as to play together as one.

5-4
To ease your work in folIowing this schedule, it is suggested that you mark with a peneil on
the Tone Bar Rail the exact place where the basic setting changes and the number of "cents"
change dictated by the chart (Figure 5-4, Page 5-6).

How to FolIow the Chart

Typical procedure might be as folIows:

First, calibrate your tuning machine in accordance with Manufacturer's instructions, making
sure that the arrow is set on Zero. Next, tune A above Middle C. FolIow with A#, B, C,
C# and D. Observing your Chart, you will notice that the next tone, D#, is supposed to be
tuned 1 Cent sharp. So, tum the dial on the tuning machine one one-hundredth of a Semi-
tone (1 Cent) sharp. Now continue tuning D#, E, F, F#, and G. Again, observing your
Chart, notice that the next tone, G#, is supposed to be tuned 2 Cents sharp. So, again,
re-set the dial on your tuning device. This time set the dial two Cents sharp. Continue this
procedure until you reach the highest note on the Piano.

Now, go back to your starting point at A above Middle C. Move the dial back again to
Zero. Observe G# to the left of A. The Chart shows this to be 1 Cent flat. Therefore, fol-
lowing the procedure, which by now is familiar to you, tum the dial to the left of Zero a
distance of 1 Cent and tune G#. Continue downward, tuning G, F#, F and E.

The next note, D#, is one and one-half Cents flat. D, C#, C, B, A and G# are alI two Cents
flat, etc. Continue observing the schedule shown on the Chart until you reach the lowest
note on the Piano.

Upon completion of this, you will have Stretch Tuned the Piano in accordance with the best
tuning tradition. Now, treat yourself to a performance and enjoy the rare brilliance that only
Stretch Tuning can achieve.

Should you ever wish to revert to standard, equal temperament tuning, simply set your dial
to Zero and leave it there as you proceed throughout the entire Keyboard. This may be
necessary where you feel the need to synchronize with an organ, for instance, where it is
impossible to Stretch Tune.

It should be noted also that with alI instruments where any option can be realized, the
musician will automaticalIy folIow the concept of Stretch Tuning. This may explain why an
mstrument tuned to equal temperament may sound dulI and flat.

5-5
 STRETCH TUNING CHART
OffSET 3Cents~
(CENTS) 2 Cents Each ~ "

+40
-~~
+30
.~I~I~~I~~~~
+20 ~§~~~
1l!!1ii!l~~I~ ..-
+10
l=
o~

01
m
-30

-40 EXACT AMOUNT OF OFFSET AT EACH KEY lN CENT8

.n .n
omoo~w~~MN~O~~~~w~~~~~~~MMMMMMMMMM~~NNNNNNN~_~~
N - _ _ oooo~o~1 NNNNNMMM~~~~~~I~=~o_NM~~m_M~~o~ NNNNM
I I I I I I I I , I I • I I I I I I I I I t I I I I I I I I I I • I I I I I I I I I I I I I I I + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +
<~~u~o~~~~~~<~~ueo~~~~~~<~~uto~~~:a~<~~u~o~~~~~~<~~U1Vo~~~~~·<~~u~o~~~I~~~<~~u~o~~~~a~<~~U

xixx!xiixixixix i X i i i X r x x x x x xxx,xxxxxxoooofOo~
AI I I I I I I A A A
! I I I I I I I I I I I I I I I I I I I I I I I t A

x = UP 1 Cent Middle C 440

o =UP 2 Cents
X=DOWN 1 Cent
Figure 5-4. Stretch Tuning Chart
 CHAPTER SlX

REPAIR PROCEDURES AND TECHNIQUES

TONE GENERATOR ASSEMBLY REPLACEMENT PROCEDURE

Since ali Tines throughout the pitch range are of the same configuration and vary only in
length, and since the Tines can easily be cut to size by means of a pair of side cutter
pliers, it foliows that ali the musician needs is a set of replacement Tines.

To aid the musician, replacement Tines are packaged in Kits of six. ln each Kit is an assort-
ment of Tuning Springs and a complete cutting chart.

Each of the six Tines comes already pressed into the little cross-piece calied the Tone
Generator. Thus, the two parts when joined together become the "Tone Generator Assembly."
The Kit then is known as the Tone Generator Assembly Replacement Kit.

NOTE

Originaliy, RHODES manufactured only a Seventy-three Key

Model Piano and Tone Generator Assemblies were identified
on the Tone Bar as Number 1 through 73. ln actuality, our
Seventy-three Keys are E8 through ESO as compared to an
Eighty-eight Key Piano whose keys are identified A1 through
CSS.

When manufacture of our Eighty-eight Key Pianos was begun,

our problem of identifying the seven notes preceding our
Number 1 (ES) was solved by designating ali seven as Num-
ber O since the Tone Bars were identical.

Since, we have determined that conformity to the industry

standard would be less confusing. Therefore, Tone Bar
Assemblies (which includ~ Tone Generator Assemblies) will
be identified on our Eighty-eight Key Pianos as 1 through SS,
and on our Seventy-three Key Pianos as 8 through SO.

To perform the replacement procedure, you will need the foliowing tools:

1. A Phillips Screw Driver (No. 2)

2. A pair of Side Cutters

3. A 114" (6.350mm) and a 5/16" (7.93Smm) Wrench

6-1
Complete replacement requires only the following simple steps.

1. Remove the Harp Cover.

2. Remove the Tone Generator Mounting Screw (Figure 6-1) using the 5116" (7.938mm)
wrench.

TONE
~-GENERATOR
~ MOUNTING SCREW

;;
I
;i :
:, 'I :'

TONE BAR ,,, , ''

'
:.J-: TONE GENERATOR
ASSEMBLV

Figure 6-1. Tone Generator RemovallReplacement

3. Remove the four Screws which secure the Piano Harp Frame to The Harp Supports
(Figure 4-7) and stand the Harp vertically on its edge.

4. Consult the cutting chart (Figure 6-2) in the Tone Generator Assembly Replacement
Kit and cut the Tine to length with a pair of sharp side cutters.

5. Mount the Tuning Spring.

6. Secure the new replacement by installing and tightening the Tone Generator
Mounting Screw.

7. Tum on the Amp with the Volume at maximum setting.

8. Re-set Volume by loosening the Volume Adjustment Screw with 114" (6.350mm)
wrench and sliding the Pickup Arm in or out as you play.

9. Re-set Timber (tone color) by rotating the Timbre Adjustment Screw with #2
Phillips screwdriver, as you play.

10. With your left hand, pluck the Tine an octave below the Replacement Assembly.
With your right hand, pluck the Replacement Tine and slide the Tuning Spring until
pitch alignment is accomplished.

6-2
I-.f. - - - - - - - - TINE CUTTING MEASUREMENT AREA _1
- - - - - . , . . . . - - - - - 1..

1-8
2-9
3-10
4-11
5-12
6-13
7-14
8-15
9-16
10-17
11-18
12-19
13-20
14-21

81-88~~~~1
15-22 80-87
16-23

18-25
17-24
77-84
1:1
19-26 76-83
20-27

J!L1~§~
21-28
22-29
23-30 72-79 I
24-31 71-78 I
25-32 70-77 I
26-33
27-34
28-35
29-36
69-76i~~~~~i
68-75
67-74
66-73
30-37 65-72
31-38

64-7~§§§§§~I
32-39 63-70
33-40 62-69
34-41 61-68 I
35-42 60-67
36-43 59-66
37-44
38-45 57-64
39-46 56-63 '
40-47 ~62
41-48 54-61
42-49 53-60
43-50 52-59
44-51 51-58
45-52 50-57

:=======:1
46-53 49-56
47-54
48-55, •

TINE CUTTING -------lI

MEASUREMENT AREA

Figure 6-2. Tine Cutting Measurement Chart

6-3
 11. Check for pitch once more.

12. Secure Harp and replace Harp Cover.

Since absolute contact between the Tone Generator and the Tone Bar is necessary, the Tone
Generator Assembly Mounting Screw is instal1ed at the factory with power equipment. ln
some cases, removal of this screw will seem almost impossible; however, it can be accom-
plished in the fol1owing manner:

1. Remove both Screws mounting the complete Tone Bar Assembly to the Tone Bar
Rail.

2. Place Screws, Grommets, Washers, and Mounting Springs in a safe place to avoid loss.

3. Set Tone generator between jaws of a bench vise and tighten jaws securely.

4. With a 5/16" (7.938mm) ratchet wrench, loosen and remove Tone Generator Mount-
ing Screw.

ln the event that a bench vise and a 5/16" (7.938mm) ratchet wrench are not available,
the Tone Bar may be held in one hand while loosening and removing the Tone Generator
Mounting Screw with the other using a 5/16" (7.938mm) box-end wrench.

Tone Generator Assembly Replacement requires only the reversal of the preceeding procedure.

KEY PEDESTAL MODlFlCATlON PROCEDURE

ln June 1978, the present Key Pedestal configuration (Figure 2·1, 38) was incorporated into
the Piano. This development provides smoother, faster action or feel. Pianos built prior to
that time may be modified by carefully pursuing the following procedure.

1. Remove Action Rail by fol1owing procedures outlined on Page 3-4. Maintain Hammer
Assemblies in their mounted position.

2. Locate Action Rail on bench well away from other parts of the Piano and other
equipment that may be harmed by the chemicals to be used.

MateriaIs required for this procedure are:

Silicon Spray
Naphtha Based Solvent/Solution (i.e., Lighter Fluid)
Clean, Absorbent Cloth

6-4
 WARNING

Prior to using the Silicon Spray and Naphtha Based Solvent,

place a drop of each on the side of a Hammer to determine
that no adverse effect will result from the chemical reaction
with the plastic.

3. Place the Action Rail with Hammers and Dampers intact up-side-down to allow for
easy access to the Felt on the Hammer Butt.·

4. Saturate each Felt with Silicon Spray two or three times allowing 10 minutes soak-
ing interval between each saturation application.

5. When the Felt's adhesive has been sufficiently reduced, slide each piece off from the
Hammer Butt.

6. Thoroughly clean each Hammer Butt with a clean cloth soaked in the Naphtha Based
Solvent, making sure that all trace of the adhesive is removed.

7. Using a clean cloth soaked in the Naphtha Based Solvent, thoroughly wipe each Key
Pedestal relieving them of any trace of dust and/or lubrication that may have
previously been applied.

8. Remove the Replacement Felts from the package and arrange ln a straight line on a
flat surface.

9. Measure 5/32" (3.969mm) in from one edge of the Felt Strip (Figure 6-3) and
slice along the strip of Felts with a sharp knife ensuring that both pieces retain the
protective paper backing. Lay aside the 1-13/32" (35.719mm) Felt Strips.

....--,....,.-,.....-~..,..--.-r-----r-----r----r---..,...--ro--.-- .......-_ _ ~
----- T
5/32"

FELT STRIP
/
Figure 6-3. Felt Strip - Cutting Line Dimension

6-5
10. Seribe a peneil line along the top of eaeh Key Pedestal 1-1/16" (26.988mm) from
the rear surfaee farthest from the Key Cap (Figure 6-4).

PENCIL UNE ~1-1/16"

~
KEY PEDESTAL

Figure 6-4. Key Pedestal - Penei! Line Dimension

11. One by .one, remove 5/32" (3.969mm) felt pieees from the paper baeking and plaee
them on the Key Pedestal in front of (closest to the Key Cap) the seribed peneil
line so that the penei! line is visible after the 5/32" (3.969mm) Felt Pieee is seeurely
mounted (Figure 6-5).
5/32" FELT PIECE VISIBLE PENCIL UNE

Figure 6-5. Key Pedestal - 5/32" Felt Pieee Mounted

12. Remove the 1-13/32" (35.719mm) Felt Strips from the paper baeking one at a time
and plaee them on the top surfaee of the Key Pedestal with the 5/32" (3.969mm)
Felt Pieee mounted. Be partieularly eareful to ensure that the 1-13/32" (35.719mm)
Felt Strip is flush with the front (closest to the Key Cap) surfaee of the Key Pedestal
(Figure 6-6).

6-6
 1-13/32" FELT STRIP

EXCESS FELT MAY BE

TRIMMED FLUSH WITH
BACK DF KEY PEDESTAL

Figure 6-6. Key Pedestal - Felt Modification Complete

13. Any excess of the 1-13/32" (35.719mm) Felt Strip protruding in the rear may be
trimmed off, however, function will not be impaired if it is left untrimmed.

14. Lightly spray the Felt Strip with Silicon Spray. An excess of the Silicon may reduce
the Felt's adhesive and cause the Felt to falI off.

15. Replace the Action Rail by reversing Action Rail Removal procedure outlined on
Page 3-4.

After the Piano has been completely reassembled, check for Escapement (Page 4-1) and deter-
mine that a "Double-Stroking" condition does not existo

WORN KEY BUSHING REPAIR PROCEDURE

Afteryears of normal use, the Balance Rail Key Button and Front Pin bushings will show
wear, causing the Keys to move sideways creating the sensation of a "sloppy action".

By the use of the pro per tools and techniq ues, this can be easily cured, giving the piano a
tight, "like new" feeling.

The easiest method is achieved by the use of a piano technician's tool, calIed a Key Bushing
Tightener (Figure 6-7).

6-7
 ---~---B-- TOP

Figure 6-7. Key Bushing Tightener

To use this toaI, alI that is necessary is to remove the Keys and place them on a flat surface.
Then insert the toaI into each affected slot, and gently tap the top of the toaI with a ham-
mero This will cause the Key wood to be squeezed toward the center, making the gap for the
guide pin smalIer. Replace the Keys in the Piano.

If a Bushing Tightener is not available, approximately the sarne effect can be accomplished
with a pair of strong needle-nose pliers.

With the pliers, carefulIy squeeze the wood together at each bushing slot (too much force
can break the wood) causing the bushings to be squeezed inward.

The third technique is to replace the bushings.

With a sharp knife, carefulIy trim away the worn bushings. Then apply a white glue to each
side of the bushing slot. InstalI new felt (obtainable from any piano supply house) and
clamp the felt in place with a key bushing wedge, ar clamp. (The Bushing Tightener can be
used for this purpose also.) After the glue has dried, trim away the excess felt and replace
the Keys in the Piano.

An alternative to the felt bushing is plastic bushing inserts. Instead of installing felt after the
glue is applied, press in the plastic inserts. After the glue dries, replace Keys in Piano.

After any bushing tightening ar replacement, always make sure the bushings are not too tight,
and that the Keys do not stick.

KEY CAP REPLACEMENT PROCEDURE

PeriodicalIy a customer will request a new Key because some blow has caused a fracture, ar a
cigarette burned one ar more of the Key Caps.

Instead of replacing a Key, it is a standard practice of piano technicians to resurface, ar recap

the Key.

6-8
To resurface a Key, it is first necessary to identify the Key and its Cap style. Refer to Key
Identification Chart (Figure 6-8), Page 6-10.

Once the Key Name, manufacturing type (Cap thickness), and Cap style have been deter-
mineJ, you can then proceed with removing the damaged Cap.

The same type of white key cement can Oe used for the One-piece, Two-piece or Full-skirt
style Cap. Because the surface of the Key where the Cap adheres to the wood is visible, a
glue that dries white is preferred for the One- and Two-piece style cap.

Piano key cement is available at piano parts and supply companies. If piano key cement is
not readily available, Duco cement will work acceptably.

If white piano key cement is not available, you can make a glue that dries white by mlXmg
Duco cement with 30% acetone and adding small Key Cap chips and shavings from the bro-
ken Key Caps. Place the Duco in a sealable container. Add enough acetone to increase the
total volume 25% to 30%. Add in the broken chips and stir. As the chemical dissolves the
plastic, continue to add more chips and allow them to dissolve. Continue stirring and adding
chips until you are satisfied with the color of the glue. Before using the glue, make sure all
plastic chips are dissolved. The texture should be thick and smooth, about the consistency of
syrup.

FULL-SKIRT TYPE KEY CAP

To replace the Full-skirt type Cap (Figure 6-8, B.), it is first necessary to remove the old
Cap. Since the Cap is damageJ, it is of no consequence if you break the Cap further when
you remove it. Using pliers and a sharp knife, break the Cap off, piece by piece, alI the
white being careful not to chip or otherwise damàge the Key itself.

After the old Cap is removed, sparingly apply piano key cement to the appropriate part of
the Key.

After the glue has been applied, slide the Cap on to the Key, making sure that it is pushed
in place so that the end of the Key is against the inside front of the Cap. Put rubber bands
around the Key to hold the Cap firmly in place until the glue dries.

ONE- AND TWO-PIECE TYPE KEY CAP

Basically, replacing the One-piece (Figure 6-8, A) and the Two-piece (Figure 6-8, B) type Key
Caps is the sarne as replacing the Full-skirt type Cap. However, the technique does vary
slightly in the removal and c1amping processes since the One- and Two-piece Caps cover only
the top and front of the Key.

6-9
A. ONE·PIECE KEY CAPS
PRATT. REAO - NATURAL CENTER PIN BUTTON
RADIUSED

HAMMER NOTCH

KEY NUMBER~ ~ -:." /RADIUSED' PEDESTAL BUTT

/
JOINTED
====-----::......~-~~,
"i"r"11 /~---1
II PRATT, READ - BASS WOOD

I HEAD
_ _ _ _P_R_A_T_T_,_R_E_A_D

RELlEF AREA
T_A_I_L_I> NO MOLD MARKS

PRATT, READ - SHARP 'NOTE: ON SOME EARLY ONE·PIECE

AND ALL TWO-PIECE AND FULL·SKIRT

! P_R_A_T_T_'R_E_A_D l... N_O_T_A_B_ _.,

CAPPED KEYS THIS NOTCH IS SQUARE.

I ----'J
WURLlTZER - NATURAL

KEY NUMBER~
PEDESTAL
,.......:'-----{ DADOED

WURLlTZER-SUGAR PINE

~
MOLDMARK
WURLlTZER TAIL GENERALLY A LETTER
,.... ---1_ AND A NUMBER
HEAD

t--
WURLlTZER - SHARP

_ WURLlTZER

_ _ _ _ _ _---'f
I~
----'---
:TAB-----,

B. TWO·PIECE AND FULL SHIRT KEY CAPS C. PEDESTAL IDENTIFICATION

PRATT, READ WAS THE ONL Y VENDOR FOR TWO·PIECE
AND FULL-SKIRT CAPS

NATURAL
WITHMAR~
NOTE ON TWO·PIECE CAPS TOP PIECE
IS THICKER THAN FRONT PIECE
NOMA=C]

5/32" FELT
~~~--STANDARD
FEL T ON WHITE
PRATT, READ FULL·SKIRT NATURAL PEDESTAL FELT

SHARP

SHARP CAPS SAM E AS PRATT, READ

ONE-PIECE SHARP CAPS

PRATT, READ FULL·

SKIRT SHARP

Figure 6-8. Key Identification Chart

6-10
To remove the Cap, a sharp X-acto type knife is used to cut between the Cap and the wood
of the Key. Always slice with the grain of the wood so as to minimize cutting the wood. 1
Carefully slide the knife between the Cap and the Key. Moving slowly with light pressure,
slide the knife under the Cap from one end of the Key to the other, causing the Cap to
come loose from the Key but not peeling or cutting any wood from the Key itself.

For the One-piece type Cap (and the front of the Two-piece type if removal is necessary)
also slide the knife between the front of the Key and the Cap, carefully removing the front
of the Cap without damaging the Key.

After the Cap has been removed, scrape or sand the glue and Cap residue fram the Key. AIso
make sure any damage to the Key is repaired (add wood putty to any gouges, etc.). Make
sure the Key surface is as smooth and leveI as possible.

Apply the glue liberally to the surface that is being capped. Spread the glue so that there are
no air gaps.

Carefully place the new Cap on the Key. Slide the Cap across the Key slightly to help spread
the glue. Align the new Cap on the Key so that there is equal overhang on both sides of the
Key and that the relief area of the head of the Cap is flush with the relief area of the head
of the Key. The head of the Cap at the front should then overhang the front piece (on a
Two-piece Cap) by approximately 1116" (1.588mm). On the One-piece Cap, the front should
be firm against the front of the Key and the Cap should be centered so that there is equal
overhang on both sides of the Key. After the Cap is properly aligned, clamp the Cap in place
with spring clamps and a block or plate 2 to keep the clamps from scratching the plastic Cap.
After the clamps and blocks are in pIace, make sure the Caps are still properly aligned and
realign if necessary. Set the Key aside and allow appropriate time to dry, which will depend
on the glue used.

After the glue has dried, remove the clamps and blocks and trim down the excess overhang
on the sides of the Key with a flat file (a Vixen-type file does a very quick and neat job).
File away the excess plastic until the Cap is flush with the sides of the Key. For a nice
smooth appearance, scrape (with an X-acto type knife) or sand away file marks in the plastic
and round off the front corners of the head of the Cap.

The Key is now ready to be replaced in the Piano.

1Heating the plastic Cap with a heat gun will soften the plastic to allow easier removal.

2Spring clamps and pIates for the tops and fronts are available from piano supply companies.

6-11
 SECTION II

EARLY DESIGN RHODES PIANO

 CHAPTER SEVEN
EARLY DESIGN RHODES PIANOS - TONE SOURCE (Prior to July 1975)

ln the broad claim of our original patent, No. 2,972,922, the Tone Source is described as a
"tuning fork of unequal legs". ln other words, we deviate from the traditional concept of a
tuning fork in that, while both legs of the fork vibrate at the same frequency, the lower leg
is more resilient and, as a consequence, responds more positively to the blow of a Hammer.
It is to our advantage to construct this lower leg in such a way as to render it as resistant
to wear and fatigue as possible. ln pursuit of this, the Tone Bar Assembly has gone through
three major changes through the years.

1. ln the original Piano, the Tone Bar Assembly (tuning fork) was a single piece of cast
iron which was suspended in a metal channel. The bottom leg was a length of
piano wire of a diameter of .075" (1.905mm) (Figure 7-1).

Figure 7-1. RHODES First Stage Tone Bar Assembly

2. ln the next stage the Assembly was constructed as shown in Figure 7-2. Several
improvements were accomplished by this change.

a. The Tone Generator Assembly (Figure 7-2) was now removeable for easy
replacement.

b. Timbre adjustment was more easily accomplished.

c. Escapement distance was more easily adjusted.

3. ln an attempt to further improve the tone quality and at the same time to reduce
weight, we came up with the current Tone Bar design, which we call the "twisted
steel bar" (patent No. 3,644,656) (Figure 7-3).

7-1
 TONE
BAR

TONE
o GENERATOR
ASSEMBLY

Figure 7-2. RHODES Second Stage Tone Bar Assembly

~~·'-TONE
BAR

TUNING
SPRING

Figure 7-3. RHODES Third Stage Tone Bar Assembly

THE TINE

ln our original design, the "Tine" (bottom leg of the tuning fork) consisted of a length
of piano wire .075 (1.905mm) in diameter (Figure 7-4). Fine tuning was accomplished by
means of a slideable length of coil Spring which was crimped to produce a friction fito

=~(1'905mm) ,~========'o~r' (1.905mm)

ri

Figure 7-4. RHODES Original Tine Design

7-2
Later, in an attempt to distribute the vibrational shock created by a heavy Hammer bIow, the
wire was tapered (Figure 7-5).

___ .100" (2.540mm)

.070" (1.778mm) .060" (1.524mm)

t===::========:::::::::::::::
r--l"
= = tf
Figure 7-5. RHODES Second Stage Tine Design

This taper was accomplished by the "centerless grinding process". This new configuration
added considerable life expectancy to the Tine.

As a resuIt of some six years of deveIopmental procedure, a major breakthrough was accom-
plished in the processing of these new tapered Tines. lnstead of the centerless grinding pro-
cess, we introduced the current Tine (Figure 7-6). ln this new innovation the Tine is formed
by the swaging process, a process which by its very nature adds strength to the part by com-
pacting the outer surface (skin) of the Tine.

.100" (2.540mm)
'I" . •060" (1.524mm) .060" (1.524mm)
I'

L*~172~;(12.700mm) .=====-4==?'1
r '

! ! I

Figure 7-6. RHODES Swaged Tine Design

ln a comparative shock test, our first Tine withstood 40,000 heavy Hammer bIows; the
second Tine withstood 1,500,000 bIows, and the swaged Tine was still going after 6,000,000
bIows.

WhiIe it is the nature of even the finest steel to deteriorate when shocked by stresses beyond
its eIastic limit and thus finally to crystaIize and break, we feel that in this new process we
now have reached the uItimate in providing a part capabIe of withstanding indefiniteIy all but
the most withering treatment.

7-3
 CHAPTER EIGHT
EARLY DESIGN RHODES PIANOS - ACTION (Prior to September 1975)

Fundamentally, there has been no deviation fram the original design principIe, though the
actual configuration of the parts has changed.

THE ACTION
The original Hammer Assembly appeared as shown in Figure 8-1.

TONE GENERATOR
MOUNTING SCREW
TIMBRE
ADJUSTING
1 TONE BAR

SCREW

Figure 8·1. RHODES Original Action Design

The Hammer Head was of the conventional "tear drop" designo The Hammer Shank and
Hammer Butt were formed fram wood and therefore tended to suffer the weaknesses of
wooden parts, such as off-center holes, drifting holes, warping, etc.

An interim change involved the insertion of an aluminum clip (Figure 8-2, A) on top of the
Key Pedestal. This was done to increase the acceleration of the old Hammer designo

FELT STRIP

Figure 8·2. RHODES Second Stage Action Design

8-1
The next generation of Hammers featured a molded Shank and a molded Flange (Figure 8-3).
These parts were made of CYCOLAC, a material which has withstood the test of time and
has proven to be dimensionally far superior to its predecessor, besides being practically imper-
vious to variations in temperature and weather. At this sarne time the Felt Strip originally
attached to the cam curve of the Hammer was instead placed on the newly designed Pedestal
surface of the Key.

Figure 8-3. RHODES Third Stage Action Design

The "tear drop" Hammer Head was excellent for standard pianos, however, it tended to wear
a groove, and as the groove deepened, the quality of sound deteriorated. Replacement was
cumbersome and costly.

While this type of Head was retained for awhile, another innovation followed soon (Fig-
ure 8-4). It consisted of a wooden Head with a Felt Tip, which was easily removed for
replacement. This was a major step forward in that replacement could be dane inexpensively
by the musician.

ESCAPEMENT
ADJUSTING
SCREW

HAMMER
TlP

HAMMER
HEAD

Figure 8-4. RHODES Fourth Stage Action Design

8-2
At the sarne time, research was going on with a type of Neoprene which would be a useable
substitute for the felt Tips. Felt - being what it is - was still subject to grooving. The
formation of a groove is costly in tone production, since the walls of the groove act as
dampers. It was hoped that a material could be found which would end the problem of
grooving. The Neoprene Tips proved superior in every way and were introduced into the line
early in 1971, following extensive testing.

8-3
 CHAPTER NINE
EARLY DESIGN RHODES PIANOS - MAINTENANCE AND REJUVENATION

This Chapter of the manual will be devoted to maintenance procedure and to description of
the ways in which the various vintage models can be adapted to newer standards.

1. Suppose you have a Piano of the vintage depicted in Figure 8-1 and wish to bring it
up to current sound standards. Proceed as follows:

a. Examine the condition of the Hammer Heads. If the grooves are not more than
3/16" (4.762mm) deep, they can be reshaped by sanding off the outer surface.
To accomplish this, construct a shaping tool from a 6" (152.4mm) length of
wood to which has been cemented a piece of very rough sand paper. Beginning at
Points A and A1 work upward toward the crown - taking off enough of the
outer layer of felt to remove all trace of the groove (Figure 9-1).

GROOVE DEPTH
(3/16" OR LESS)

Figure 9-1. Tear Drop Hammer Head - Groove Removal

It should be noted that by the method chosen in this shaping process, you have a measure
of control over the "striking line" (the point of Hammer contact along the length of the
Tine).

Suppose Point A (Figure 9-2) is the optimum point for best tone and volume response. You
can shape the Hammer so that the peak of the felt is left or right of center in order to
accommodate to Point A.

You can determine the exact location of Point A by removing all the Mounting Screws from
the Harp so that it can be slid back or forward on the Support Blocks. With the Harp free
to move, slide it back or forward as you strike the Key until you locate the point of
maximum power response. Next, mark this point on the Tine with a felt pen, slide the Harp
to original position, with Hammer raised, mark a spot on the Hammer Tip where the Felt Tip

9-1
 POINT A

Figure 9-2. Tear-Drop Hammer Head - Reshaping to Striking Line

should be shaped. This procedure should be repeated about every 6th Hammer throughout
the scale. The intervening Hammers can be shaped to the "curve" thus developed.

b. Next, test Felt hardness by playing the Piano through the mid-range. If the tone
quality is harsh, indicating excessive hardness of Hammers, the Felts can be
softened by the "Voicing" processo This is accomplished through the use of a
Voicing tool, available in any piano supply house. Failing this, embed a common
sewing needle in a hand drill, then "drill" the needle directly into the Felt at
several points in the striking area.

c. If the Hammer Heads are too badly worn for salvage, remove all Hammer Assem-
blies and instali Replacement Hammer Assemblies. The Hammer Assembly will
come complete with Flange and Bridle Strap mounted. It will appear as shown in
Figure 8-4A, without Tip.

Proceed as follows:

(1) Remove ali Damper Shoes by sliding forward (Figure 7-1).

(2) Unscrew Flange Screw and remove Hammer by sliding Bridle Strap out over
Damper Arm.

(3) Mount the new Hammer Assembly by sliding the new Bridle Strap over the
Damper Arm then by securing the Assembly with the Flange Screw.

9-2
(4) Slide all Damper Shoes back into place.

(5) Create a 118" x 3/8" x 3/8" (3.175mm x 9.525mm x 9.525mm) shim and
glue into place on the Hammer Head as shown in Figure 9-3. This is neces-
sary in order to bring the Hammer Tip up to the full height of the one
replaced.
r----,~NEOPRENE
;
, I TlP

SHIM

BRIDLE
STRAP

Figure 9-3. RHODES Hammer - Shim Placement

(6) Secure all Neoprene Tips following the instructions given in the Kit.

(7) The new Bridle Straps are slightly shorter than the old, resulting in a lower
rest position of the Damper Felts. Adjust these upward to suit by bending
the Malleable Wire Damper Arm (Figure 9-4).

DAMPER FELT

MALLEABLE
WIRE

DAMPER SHOE

Figure 9-4. Early Design Damper

9-3
 (8) Carefully peel off the red woven Felt from the cam curve of the old Ham·
mers, exercising care to leave a smooth, clean surface, and cement to the
top of the Key Pedestal. This applies whether the Key is as shown in
Figure 8-1 or Figure 8-2.

2. Suppose you have a Piano of the vintage depicted in Figure 8-4 but with the type
Tone Bars as shown in Figure 7-2, and you wish to restore it. Proceed as follows:

a. Remove all Felt Hammer Tips with a jack knife. Make certain that the maple
Hammer Head surface is clean of all Felt and old glue. If the Hammer Head
is of the variety shown in inset Figure 8-4B, remove the back shoulder with a
pair of end cutters in arder to provide ample surface for the Replacement
Neoprene Tips (Figure 9-5).

REMOVE

Figure 9-5. Double-Shoulder Hammer Head

b. Using 3M Super Weatherstrip Adhesive No. 8001 available at auto supply stores,
or a similar bonding agent, cement the Neoprene Tips folIowing instructions
given in the Hammer Tip Replacement Kit.

(1) Remove all Tone Generator Assemblies by removing all Tone Generator
Mounting Screws (Figure 8-1).

(2) Mount alI new Tone Generator Assemblies following instructions given in the
Tone Generator Assembly Replacement Kit.

(3) Adjust Timbre. See Timbre Adjustment, Page 4-6.

(4) Adjust Volume. See Volume Adjustment, Page 4-6.

(5) The Felt Tips are slightly talIer than the Neoprene Tips, so escapement must
be re-established. See Page 4-1.

9-4
 (6) Remove the Harp Mounting Screws (including the Hinge Screw) on the left
(Bass) side of the Harp (Figure 9-6, 9).

(7) Refer to Step 3., Page 4-6.

(8) When you have located this new Harp position to your satisfaction, sink two
new holes in the maple Side Support Blocks (use a No. 10 drill), then secure
the Harp by remounting the Screws. Next, remount the Hinge by drilling a
new hole (No. 10) in the side of the Harp Frame. Exercise extreme care in
guiding your drill through the steel so as to avoid plunging the drill into the
Pickup. If the Harp/Action Assembly is out of the Cabinet, a new hole can
be drilled in the side of the Harp Support Block to relocate the Hinge, thus
avoiding the possibility of damaging the Pickup.

1. Tines 6. Pickup Arms 11 & 12. Tone Bar Adjustment Screws

2. Dampers 7. Pickup Mounting Screws 13. Balance Rail Guide Pins
3. Harp Hinge 8. Damper Release Bar 14. Front Rail Guide Pins
4. Pickups 9. Harp Mounting Screws 15. Nameboard Mounting Screws
5. Preamp Jack 10. Typical Tone Bar
Figure 9·6. RHODES Early Design Harp/Action Assembly - Cut-Away View
9-5
 CHAPTER TEN
EARLY DESIGN RHODES PIANOS - DIMENSIONAL STANDARDS AND ADJUSTMENTS

1. Key Dip. Key Dip and Hammer traveI are controlled by the height of the Action
Rail. Key Dip is the term used to describe the downward Iimit of traveI of the Key
when depressed. 3/8" (9.525mm) is ideal. This is controlled by means of shims
(Figure 10-1) pIaced between the Action Rail and the Key Frame. To adjust, remove
the entire Action from the box. AIong the back of the Key Frame under the Action
Rail will be five wood screws. Remove these, then either remove shims or add shims
depending upon whether you wish to reduce or increase the Key Dip.

KEY DEPRESSED
DAMPER CLEARANCE
3~"TO 1/2"IDEAL~=~

;'~
~ ~-
- ~==OM \tSCAPEMENi ~/~'!. ~~L
~?%" ~ I
Ltt
=-
~
L I \""'----------,

mo ~11:WN
SHIMS/ L.
~ ~ACTION RAIL MOUNTING SCREWS

KEY AT REST
DAMPER RELEASE BAR ESCAPEMENT
ADJUSTING
r~~=r=::::rtn%--=-.,..,.----d,j SCREWS
'-'I I
~'-----I:~~~r-==~~::::::::---;:;D~A~M;P-;;ER~ BEAR ING SHOU LD
BE FIRM ENOUGH TO
EFFECTIVELY DAMP SOUND

:--.....é!:=:.==u------"'I~-~IJ UP
3/8"
"--------------t
Figure 10-1. RHODES Early Design SingIe Key Views

10-1
2. Damper ControI. The Damper ideally c1ears the Tine by at least 3/8" to 1/2"
(9.525mm to 12.700mm) when the Key is depressed. Conversely, when the Key is
at rest, the Damper should bear firmly on the Tine in order to effectively damp the
sound.

To maintain this relationship, there are two adjustments possible.

a. Tension. Refer to Page 4-4.

b. Alignment. Refer to Page 4-4.

3. Escapement. Escapement is the word used to describe the distance between the
striking edge of the Hammer Tip and the Tine when the Key is fully depressed. This
distance varies from between 3/16" (4.762mm) and 3/8" (9.525mm) in the Bass
section to between 1/16" (1.588mm) and 1/8" (3.175mm) in the Mid section and
between 1/32" (0.794mm) and 3/32" (2.381mm) in the Treble section. The shorter
the Escapement distance, the more sensitive the touch.

The Escapement distance could be called the "free throw" area. ln other words this is
the area of Hammer traveI after the energy imparted by the touch is no longer effec-
tive. ln order to understand the philosophy, suppose the Escapement distance were
1/2" (12.700mm). Under this condition, it would require an extremely sharp blow to
impart enough acceleration to the Hammer to enable it to reach the Tines. Now
reverse the situation, suppose that we reduce the Escapement to zero. The lightest
feather touch will produce a sound. However, sustained finger pressure on the Key
will cause the Hammer to smother the sound. Now back off a bit. Raise the Escape-
ment to the point where the Hammer can no longer smother the sound. This becomes
the ideal setting.

To achieve the ideal Escapement setting, there are severaI adjustments possible depending
upon the vintage Piano involved.

a. To decrease the Escapement distance, compress both Escapement Adjusting

Springs (Figure 4-4). This will lower the entire Tone Bar Assembly thus
reducing the gap. Once this is accomplished re-establishment of Timbre and
Volume setting is done in the usual way.

b. li the Escapement is excessive throughout the entire Piano, proceed as

follows:

(1) Remove the two Side Support Blocks (Figure 10-2).

10-2
T

. I /SUPPORT
-""Ir·ILIl-_,,-,1 y BLOCK

Figure 10-2. RHODES Early Design Harp/Action Assembly - Exploded View

(2) Using a table saw, shave off the desired amount fram the top
surface of each Block, approximately 1116" (11.588mm) to
118" (3.175mm).

(3) Replace the Assembly, then reset the Dampers for maximum
performance.

c. An alternate method of accomplishing the sarne thing is to remove all

Hammer Tips, add a Shim, then replace the Tips, as outlined on Pages 9-2
and 9-3. This procedure, while perhaps a bit more tedious, requires no
equipment nor re-adjustment of Dampers.

10-3
 As also is the case in string pianos, the Escapement distance in the Bass section
should be greater than in the middle and upper sections. This requirement is even
more pronounced in our Instrument due to the wide are of Tine movement
encountered. Escapement distance on Tone Bar 1 could be 3/8" (9.525mm). Insuffi-
cient Escapement in this area invites "double stroking" with an accompanying
disturbing sound.

Signal Strength:

Originally the 73 Pickup Coils were joined in a series/parallel arrangement as shown in

Figure 10-3.

----- - - - - - - - - ---------

Figure 10-3. RHODES Original Pickup Coil Series/Parallel Arrangement

Later, basic voltage output was quadrupled by changing the series/parallel arrangement as
shown in Figure 10-4.

~-~,

______ ~ \--- ---.J

,j

Figure 10-4. RHODES Modified Pickup Coil Series/Parallel Arrangement

This change can be made on any of the older Pianos simply by re-routing the bus wires as
shown in Figure 10-5. The output impedance then becomes approximately 2500 ohms.

14--+-+- 3 -+-+--., 14--+--+-3 -+-+--., 14--+--+-3 -+-+--., 1+---+-+--3 -+-+-----+1

62 63 84 65 66 67 68 69 70 71 72 73
Figure 10-5. RHODES Bus Wire Re-Routing Diagram

10-4
 SECTION III

ELECTRICAL AND ELECTRONIC SERVICE AIDS

\ .
) PARTS L1ST

ITEM OTY PART NO. DESCRIPTION REF DESIGNATION

38 1 013575 SWITCH, TOGGLE - SPDT S1

37
36 3 013528 INTEGRATED CIRCUIT - DUAL OP AMP W1,2,3
35
34 1 037119 TRANSISTOR 2N3392 01
33 2 013556 L1GHT DEP RESISTOR LDR1,2
32 2 006260 DIODE, SI L1CON CR1,2
31
30 2 009512 CAPACITOR 25V 25 C8,20
29 4 015126 CAPACITOR 16V 100 C12, 13, 14, 15
28 1 ~21105 CAPACITOR 25V 10 C3
27 2 069054 CAPACITOR 25V N.P.S. C4,6
26 1 068296 CAPACITOR 15V N.P.1 C16
25 1 011799 CAPACITOR .22 C11
24 1 021022 CAPACITOR .1 C1
23 1 013498 CAPACITOR .047 C9
22 3 010543 CAPACITOR .01 C5, 7, 10
21 1 020925 CAPACITOR 120 PF C2
20 3 060962 CAPACITOR .001 C17, 18, 19
19
18 1 013580· RESISTOR 100K REV AUD POT R4
17 2 012528 RESISTOR 50KLlN SLlDE POT R13, 16
16 1 013578 RESISTOR 25K REV AUD POT R31
15 1 013577 RESISTOR 5K AublOPOT R7
14 3 021360 RESISTOR 1/2W ± 10% 1 MEG R6, 11, 12
13 1 021352 RESISTOR 1/2W ± 10% 470K R8
12 3 021493 RESISTOR 1/2W ± 10% 220K R2,34,35
11 4 021345 RESISTOR 1/2W ± 10% 100K R5, 17,32,33
10 1 051136 RESISTOR 1/2W ± 10% 39K R14
9 5 021279 RESISTOR 1/2W ± 10% 10K R1,10,26,29,30
8 1 069823 RESISTOR 1/2W ± 10% 5.6K R15
7 2 031062 RESISTOR 1/2W ± 10% 4.7K R9, 18
6 1 021246 RESISTOR 1/2W ± 10% 3.3K R24
5 1 021220 RESISTOR 1/2W ± 10% 2.2K R39
4 5 021204 RESISTOR 1/2W ± 10% lK R3,23,25,28,36
3 7 021170 RESISTOR 1/2W ± 10% 100 R19-22, 27, 37, 38
2
1 1 015245 BOARD FAB - PREAMP
~
._-

'" .. - _....' . . . . C 16
. .' @,w~dlli~4-.&,T~jillll1.lliílll;:I'IWiMlll'l~~
AS

Figure 11-2. Printed Circuit Board -

Preamplifier Assembly - 100 Watt
Suitcase and Janus I

11-3/11-4
') L1ST OF MATERIALS

OTY

2
PARTNO.

097360
DESCRIPTION

NUT #4-40 EXT. LOCK WASHER

WHERE USED
o
A1,A2
2 027979 SCREW #4-40 X 1/4 PAN HD A1.A2 01339{;

1 013542 CONNECTOR • MALE 7 PIN P3

1 013564 REGULATOR -15V MC7915P A1
1 013562 REGULATOR +15V MC7815P A2
4 072934 DIODE 3 AMP 100V CR1. 2. 3. 4
2 012329 CAPACITOR - 1000 uf 35V C1,C2
2 033389 CAPACITOR - 500 uf 15V C3.C4
1 013395 PRINTED CIRCUIT BOARD

o o

Figure 11·5. Printed Cireuit Board -

±15 Volt Regulator - 100 Watt
Suite ase and Janus I Power Amplifier

11-7/11·8
...--> OTY PART NO. DESCRIPTION WHERE USED

2
1
060962
020883
CAPACITaR
CAPACITaR
.001
10pF
F lKV
lKV
C6,8
C7
o o
2 029983 LOCK WASHER, INTERNAL +4 06,07
2 097360 NUT - 4·40 LOCK WASHER 06,07
2 027979 SCREW - 440 PAN HEAD 06,07
~~
A/R 023994 SOLDER N~
1 013544 CONNECTOR 8 PIN PI (b-t
1 013539 CONNECTOR 6 PIN P2 w~
2 037853 HEATSINK TO-5 CASE 04,05
Olp

1 013568 TRANSISTOR RCA 30B 07

1 013569 TRANSISTOR RCA 29B 06
1 013567 TRANSISTOR 2N5781 04
4 013566 TRANSISTOR 2N5784 01.02,03,05

4 004125 RESISTOR ASSY NICHROME .2, IOW R18, R19, R20, R21
1 014584 RESISTOR 500 (BIAS ADJ) R12

() 1 012087 RESISTOR 100K (OFFSET ADJI R8

1 012546 RESISTOR 5.6K, lW 10% R6

1 096339 RESISTOR 68, lW 10% RIO

1 012545 RESISTOR 33 lWl0% R9
2 021345 RESISTOR 100K, 1/2W 10% RI, R2
1 021246 RESISTOR 3.3K, 1/2W 10% R7
2 021196 RESISTOR 820, 1/2W 10% R3,R5
1 073569 RESISTOR 330, 1/2W 10% R4
1 011302 RESISTOR 150, 1/2W 10% Rll
3 021170 RESISTOR 100, 1/2W 10% R13, R14, R15
2 061218 RESISTOR 4.7, 1/2W 10% Rl6, R17
1 031062 RESISTOR 4.7K, 1/2W 10% R22
1 006260 DIODE SIGNAL IN4148 CRI
7 064089 DIODE 1 AMP 200V CR2, 3, 4, 5, 6, 7, 8
1
1
1
068296
069054
010542
CAPACITOR 1.0· 15V
CAPACITOR 5· 25V
CAPACITOR .0047
C2
Cl
C3
o o
1 012835 PRINTED CIRCUIT BOARD Figure 11-6. Printed Cireuit Board -
50 Watt Power Amplifier -
Suitease Piano
\'
11-9/11-10
') OTY PART NO. DESCRIPTION WHERE USED

2
1
060962
020883
CAPACITOR .001
CAPACITO R 10pF 1KV
F 1KV C6,8
C7
o o
2 029983 lOCK WASHER, INTERNAL #4 00,07

2 097360 I)IUT ·4-40 lOCK WASHER 06,07

2 027979 SCREW· 4-40 PAN HEAD 06,07
~~
AiR 023994
013544
SOlDER
CONNECTOR 8 PIN PI
"'~
(»""'1
1
1 013539 CONNECTOR 6 PIN P2 w~
2 037853 HEATSINK TO·5 CASE 04.05
U\p

1 013568 TRANSISTOR RCA 30B 07

1
1
013569
013567
TRANSISTOR RCA 29B
TRANSISTOR 2N5781
I 06
04
4 013565 TRANSISTOR 2N5784 01,02,03,05

1 021493 RESISTOR 220K, 1/2W 10% RI

4 004125 RESISTOR ASSY NICHROME .2, 10W R18. R19, R20, R21
1 014584 RESISTOR 500 IBIAS ADJI R12

:» 1
1
012087
012546
I RESISTOR 100K (OFfSET ADJ)
RESISTOR 5.6K. lW 10%
R8
R6

1 096339 RESISTOR 68, lW 10% I R10

1 012545 RESISTOR 33 lW 10% R9

1 021345 RESISTOR 100K, 1/2W 10% R2

1 021246 RESISTOR 3.3K, 1/2W 10% R7

2 021196 RESISTOR 820. 1/2W 10% R3,R5

1 073569 RESISTOR 330, 1/2W 10% R4

1 011302 RESISTOR 150, 1/2W 10% R11

3 021170 RESISTOR 100, 1/2W 10% R13, R14, R15
2 061218 RESISTOR 4.7, 1/2W 10% R16, R17
1 031062 RESISTDR 4.7K, 1/2W 10% R22
1 006260 DIODE SIGNAl IN4148 CR1

I 7 064089 DIODE 1 AMP 200V

CAPACITOR 1.0·15V
CR2, 3, 4, 5, 6, 7, 8
C2

o
1 068296
1
1
069054
010542
CAPACITOR 5· 25V
CAPACITO R .0047
Cl
C3
o
1 012835 PRINTED CIRCUIT BOARD Figure 11-7, Printed Circuit Board -
50 Watt Power Amplifier -
Janus I

11·11/11-12
 CRI r-------------------------·
>--*--
---:~r-i-620 ~:--- --------------T:::~ H
--- ~V--=-=--=i

CRZ [ 1_- - - =; -1'

005601 -----Q- ----...-I-r-----t·-~----ç----+ 25V
P/I~ 1- 1 .1 ~
TI
3000 ~ + i---
020725 ,0
--'12V ~
r'
I.~?T 470
(5)
PWR AMP
50V T +25V INPUT

:rnv-
330
VOLTAGE
ADJUST EXT

SOO AMP
47K
120VAC
2W
60"-' ___ --, 50V PILOT
I '" L1GHT

~ O)ZA ~!~
.;-'
AMP. LOC

o:
___ ...J
CR3
15K
'1111
I

t
l i1_
I
I 10~
25vI
1+

_
--
-LJ
470

~-<>GND
(2)
CONNECTORS TO
PWR A!APS (I) CONN.
TO EAC H AMP PLUG
-=
ON 01'1' -=
CR4 -= I

I-'
I-'
~
--1- -~--I---.---

: ._-~-___ - - -,
C- 35V

-35V
(4)
;~~ n '.-----
~
~-=~--=-....:_~
-~~.'fI
AMP

INPUT
<:li ___ : 3 AMP

~==f-~CH-I
SPEAKER
OUTPUT
®; -=
HEADPHOl<E
JACK

"1-0- .
I 3 AMP
330
. ~CH-Z
I 1- - - - - - - - - .....
(I)

JACK5
-0------
-=
330

-=

il CIRCUIT BREAKER IS USED, lN PLACE Of fUSE lN SOME MODELS.

3. ALL GND CONNECTIONS NOT ON CIRCUIT BOARD ARE MADE TO TRANSfORMER CENTER TAP.
2. DIODES CR1 THRU CR4 ARE 3A, 100V P/N072934.
1. ALL RESISTANCE ARE lN OHMS, 1/2 WATT, 10%. ALL CAPACITANCE lN MICROfARADS.

Figure 11-10. Schematic - Power Supply Regulator Assembly (Peterson Design) - 80 Watt Suitcase
 PLl/{;', ,.q,,,?P-LO!'( b CkT.

CONTACTo A C.
(12)
t J I I KEY/NG
NOTCHFS

(2) j6W·.4'E-RS
~ "5/'A C 1 Nó.

FVSE. PIGTAIL .3 ANI".

f-J.
f-J.
~
m

006"6/9
4 5 7 B
iJIOI)E Z E NE,R VARIABL E SOOJ}
12 V

TRANSIS TOR, 2 Nê 924

-C/,RCUIT 80ARO
OR EQVI V.
PEc;ULATOR

6710-35

COI'-1PONENT S/OE
5HOWIV

Figure 11-11. Circuit Board Assembly - Power Supply Regulator (Peterson Design) - 80 Watt Suitcase
 r - - --,
I .. ,..,

: Gl) ,;
I ~"
J I

-CV
!.....,oo
100 +
47K 1- 15V
4- 2.5Y IeEG.

5.P
IZ.~ CH1't.NNEL I
-------if
4.7K 25
T
;o:..';.T..t'2~c.. :;:::: ~I; 5.'

~~l
47K ,.-1(- ~ I CH,o."NNt:L a
Z5
" 1
u"Pt:1: n
J.J"C.1Il; I·
,rr--;-'
L
"
'1 Y I r- 4 I ~ND.

.4. 25V
i !- TO POWE.~ SUPPL Y" ....MPUF"iER.

l LOWEIe.
3"" C. I<
HK 1.5K 4.7K <'406'" Ó.aK .....'SSEMeLY S'NITCHC~AF"T MO. e;,.oGA'-"F"

- --
H.C

~.I--rJ
.1
"z. __
'.OK + ~,
í.8 C~S
I
I-'" c.e." I
I-'"
~ I
e;,:) + -----~
""&)(. ItK

Z"'30S~

681< .00"'"7

410Pl

G..&K
C.W.
í CH

IOOK
10 ..
lC:"3UN.
L-...j~VOCUo.tt:
.00'
1.0 100
3SV

& ,J'.....CK. ~ LOc;ATIiõC 0tI N ....""'C 80..... 0 lf!:"IL

•. ~ '3 I~ PlA.1l:'T NO, 00.104
&. ~'t. ....... ~'t.8 .... I!I: 'Ftl"JIt.T NO. O""'II.!
7 tI'" ~le. SI .... ~ PAI!:."T NO.OOfJ09&-

: ~~~;I~t:~ ~~o~g76~;'90" f#A IOOV) ;;";'ftJ ;

... Au.. TII!.~'50'5TOIlt.~ AE&. 037//9 (SE.LLCTED 2t<J33"Z)
~ AL.L CAAIo.CITOt5 ,.toLt: lN p "
t .to.,LL r:C:~'!tT<:JIie'S V .... LUC'S A1l:E lN OHM5. 1/t. w ~ 10 "'.
I. ~. _ iAWI.U 01 'U~u AllIICU f'Mn IlUST It N'PtIO't'ID .... CM UIQ'ultt.I'IlCl IIUQlIlI sr....llNQ P'tIOOUCTIOtt
NaUS: UNLESS OTHERWlSf. SP(CImo

Figure 11·8. Schematic - Preamplifier - 80 Watt Suitcase and Super Satellite

>
li)

...
--~

11-14
 I. ~ .
.. ' l;·~d-------r AI)
II
o•
- ---
~~$~~
'~L )i~'
r ...

<lIO ')".111'
----1\'::-1
('LÉ~C~
". O'

,,,
I Pf .,

..
@
• oe}, tOO_

"'
0H-'
ro, .,;. -~,
Qlf>

'~-
Z*
~)

'),/1'. ~. l'

' --, cJ ."

.l

,~::: f=~ \'~ /' , . ,f-......,.-J_ _ ..l~ó-

~ .. ,'
'D.
11--1
.w# ~y ",u
,. f''l ~ 'o.
.l

~J') 1
--- -j-:-,
rol. ~~~~'
c, .. o 3 "J", .....[.

"C
T;jJ~ ...._ _ II ""l r
LJi lIn
~~la ~ ~~, ,. I
.. /\ ~O"D

Q' : '_.0 I
... .'0 <l. t._,,!"
,,' i fll'
(i)
__-H--~
~ L _---'
li DI te:: 1 ( !. 1110 D0'
O ... !)P( ..... ( .

'h '00
'" J~Q" ,.
-.' }}('IPJ

Y I~O .,Oll
C·ll )
'o.
.,
,.
llO
,10
. l-II
0'.
,.
II
O"
.l
'ow

.
",.

Gi
,
~~~l~
.u...• ~
I , ,
-)~:T!-:_----_!J:'_·
..... I ()
'000
."
"
' 000
I-"
I-" ., 8
.. I .~w

~
(.IQ .,
"'6
..·1.
-:J ''''' 5 r-- ,ri,
I

.;:~ ~
,.r
:. I'" ,..
~ ~~ ,..
~._-+---l>---i4--'
,..
•
L-__ @-- _ _

9. TRANSIST'ORS G1, 02 - CBS P!M 037168 (SELECTED 2M3393), 03 - ces PIN 035213 (SELECTED 2M3053), 04,05 - ces P/M 037077
SELECTED 2M3054), 06, 07 - CBS'/M 001568 (SELECTED 2M3772).
S. DIODES CAS, CR11 - 2A GERMANIUM CR1, CR2, CR3, CAS, CR10, CR12, -2A, 100V SILlCON, CR4, CR5, CR6, CR7 -3A 100V SILICON
7. ALL COMPONENT VOLTAGE VALUES ARE MINIMUM, ONLV HIGHER VOLTAGE VALUES MAV eE USED.
6. ALL COMPONENTS ARE MOUNTED ON SOARD '.e.
@ COMPONENT MOUNTED ON CHASSIS
@ COMPONENT MOUNTED ON HEAT8lNK
3. ALL CAPACITORS ARE RATED WITH VAWES lN MICROFARADS ±20%, ELECTROLYTIC -20%, +150%.
2. ALL RESlSTORS ARE 1/2 WATT, VAWES lN OHMS±1~

NOTES UNLESS OTHEAWISE SPECIFIED.

Figure 11-12. Schematic - Power Amplifier, Master and Slave - Super Satellite
 - - - - - - - - - - OSI
--------
I!?ir\\2 :r-l
---------, I
I
r
2~.'
FI
3A
RI
02
27K
I
I

SI 27K
TO
PI 2
117 VAC I
2 ON OFF I
60 HZ
I
3 I
I
I
3 I P2

J2
I
---
2

~
I
---------------.
25V I
----------,;-----' TO
CHI 2
• I 1",--, PREAMP OUTPUT rI 3 POWER
I
~
f-..J. TO
f-..J. R3 • I I J4 I AMP
I PREAMP I (2
f-..J. CH2 3 5
00 I 4,7 K 5000)JF
-
J5 45V
GNO 4 2 8
J3 I
I TO
_ I I SLAVE
_ _ _ _~_
I:::-. _ _ _ _- 2 I I I SPEAKER
__________________ J

3, ALL RE515TOR5 ARE 1/2 WATT, V/\LUE5

lN OHM5 ::': 10 %.
~ COMPONENTS MOUNTED ON POWER CONTROL
PANEL

NOTES: UNLESS OTHERWISE SPECIFIED

Figure 11-13. Schematic - Power ContraI PaneI, Master - Super Satellite

 ....

r--~---------------------------
OS!

R2
iii I <.. 27K
PI SI 27K

LO ~'-o.
TC
~~
I J( \'AC I
60t,;, ON OFF
<"
o C81
I 3A

.J.. r-------.J
I P2
~
f-"
~
f-"
c.o
_~~~E"-
TO
:;,!"';::.... "'E~
n&I
.2
.....
I 4 •.,'K
T - - - - - - - "1J
II L-H
TO
PowER
AMP
2
R3 CI +25V
150 4000).l.F
7W 45V

. ~ I
~~-------------------~

,;:, ALL RESI5TOR5 ARE 1/2 WATT VALUE5

lN OHM5::!: 10%.
11\ COMPON[NTS MOUNTED OH POWER CONTROL
PANEL.

~.;~~ mliEAWi5E SPECIFlEO

Figure 11-14. Schematic - Power ContraI PaneI, SIave - Super Satellite

n
 PIN 2 O...----------------------------~,

PIN 5

.....
.....
~
o
PIN5 o
CRlt
U
CR3
jj"
....,...CI
SO.Ll.f
75V
1500~ IW 1 CP5
b C2
~O~T
75V
,j
-l+C3
TSO-<-{.:f"
75 V
CR2. .CR4
I 30V IW
P\N I O • • • • • • • I

CRI,2,3,4 = IA 200V

PIN 30 •

Figure 11-15. Schematic - Converter Kit I

 """"o

CASE G~Do Tl! ClIAS'5/5

----,

C2
IODD ~f
cei C22
3S V

ON/O~ SWITCII
I-'
I-' r- "1
s
~ I I
I-' FI F2 1 I
I 4 lOS t<. ,
IZO VI€.
GOHZ. IL I I 2. 3 _ _ _ _ _ .J
I
7 I

I - - - - - r= =-- -= --= ~ ~ -~ =---, - I

~:
7
---l I I L
r- FI F2 I
I
I
~~ 3 1

I 24D V"'-'
I I I '2. I
I
SAM~ CLJNNf.C-7/lJ1l
L J RS 12tJ V
50HZ.
I vG!.SION

~1i/)f;L
I OnJOtlAL CLJNNEC-TIDN
L _ -= - EXPDE7 VEJ:SIO/y - -
FOIi!. Z'lDV OPE2A7l<JN

I. DIDI:lE S ce I 7Hi!1J ce. "I-

Fle.~ 3 A 100 V.

Z. ALL CfJF'fICJ7Qí!!;. VJlLUE.5 IlIi!.E GIIIEN III

MI CJ!.[) f:AeA D~ •
3 TIi?AH5RJe1T1EJe TI r/I'Y 01 'fol{' R II/1S ~ OJAL
Pk?IMII2..Y FOI! 12IJ t:. '2.'10 " OP/2Q1UH

Figure 11-16. Schematic - Converter Kit II

 AU-OS'. -# "'U-O!o""
-,
PRE-AMP .~_. I

IWUllMlul I
rI~h
, ,.,--+=,J ~ - (
~.

:J
1 CONDUC'TOR
~À"TC" COitO

I
--'

r - - - - _-m- .., .... ]ZV

I 3"'G ~k1) WlRE
,-----
I
I
t-' I
t-' I
r;., I
~

..101<

I
1501(
I
47"1 ".7K

_J E
li'..
lt"',
I PC. B.•
R)Wç:R A'MPLlnER ___ J
+A _ ~
I.QMI 3-
I'UII"U WlU

"SIILA'UD ~OM
T"'~TlD ""IR
01. _OUl'U)

1. ALL RESISTORS ARE 1/4 W 2: 5%.

NOTES: Um.ess OTHERWISE SPECIFIED.

Figure 11·17. Schematic - Preamplifier and Power Amplifier (Jordan Design) - Suitcase Piano (Pre 1969)
 ,,,,,
~~~(
. .- ,.,., 0lJI' ..llII:...
-
~D

"U
o~
Vlo

e.. "I
'no
......
--l '"""'. ".".

"A- TA Pt: lN
MAnc::R. ......
.;lItc!(.
I <'Ic,,,,-

~ .....
':,NO

~""p

C~}
lN
81'"

l~U.Q"l.:lc....
I

.._04- "
G~ =f_~"Q" B.v'SS

e......
CO,....,..C ...l ....T C,tlc. 0-':"

""o
c;ND
e.cf'J!.O\"'~ "f,Àl.'"
''Ul.n""Cl>.''''ss

...... J"""IN~T lU: CCH1.0l,,( Ou""

..
&\,uC
A" _ _T [

e.... ..... ',.. • PO'" C>loT) -r-. O~ a.1A.S"U:R. ev'!õ.~ .,..... 15.
V'C>
TD eo" T. AA11"
E...\R P\oo'l1E

-
vo"
~
~AC.P",~""'I[.
...-~. OUT.w:.r., ~~J co",,"c.", o-r.
•• Ol/TPV'"
[ .....
l'l;c..

VIO
.... 04- ..
(DM,.o"olr .... T ":01
G~

BIt'"
... N

".-,."pe
Ptrr w,rtlit--l

"""~"E.q.
I""
....
J""c.....
RIl. 'SIP~

~G'" "><T'' ' 'IU$:5 0"0.

"'~ OVT ~Olr."" TO "A~

}"",,",on: "'ac '"~V('-

ORO.
.. 1.SV' IlED , I ---J

I' &u<- .\'C:I..

~
} e '''''''T
~IO
~NITO$L B\J'SS

FIO. •.•.• C,VT PIlT •..•

.m'~)J1
lIlX &<'""
I eu< "JJ".I"-e. !
~- ~
'''UCA To ~ S"INPVT
...."- 'SJh.D CA I;":rrtl. ~., .
vl:\..

.
l1l-I:
f-'.
f-'.
-...:. VIL ~&"I'ar w,"'-'Z.. GIU'I "TO -1'\- 1"'Ç"itJ"':"
1IiZ.-wTC' _e ~ ... ~
t-.:> =Q" "A' OlJ"!'PJT
"f4'" ~Td _~T", ".-
lIõN
~ 5~CAc;.w'
1.Hc:. ... ......
.
CJ.,tf>
ce.......-....1'AUil.l l-- 0"." tt'LoV CA""'D
~.O"'·T

....
...."'" TO Ct./$ • .....N
COM~ ~I~t "oIC' "t. 1.1lJ$ "S"O\IT
1 .. ' .tI>
~ ~
'-llT. I" 1: Ío.IO .. ..,
.......Tt ..'" ..a",,1.. J....- ~ ~.. rlll. llol1õTlIl " " "
Z o
_--------.l LU
...
.:I
JIl
~
, .. .. I_Jl. TO INS _...... lN

.
; " o...
. .,
,;
lO I I I I
1) O~ _AMP 8 .

..
.:
n)/
.., ~
., ~

... •'"
~ w~ .,

..,.
L Q I) 011( ..
lo ~ 1., i 2 ... ~
o" -2 t;
tt ~ ., ~ ~ I I I
...o
01
~
!
..
Ir "
~
~
;; "
~
. ~
.,
~ ~
« ~ III
.. O"
lo _ '"

i J ~ :- .-
... .. .
.....
1~~
~

1. FAOM PETEASON DAAWING NO. 6804-18

NOTES: UNLESS OTHEAWISE SPECIFIED

Figure 11-18. Connection Diagram - AlI Printed Circuit Boards - Instructor Console
 f'\ANOIN

~··j=J~.F·"~~"'j
-.0;)

-(914'~"- ".. ---,-

Zto
r-

i
NJ
4070 I.~K..

>-íí
,5TVDENT TAlk..

"",D OUTPuT TO
lN5TR,\JCTOR'S
'!:>1C, ..... AL LAMP LIN'E" (.ON'::.QLE'
(LO<» }

""""
33.. 3.~K..
,cc.. _ -=- r:f;•. 4
:STu~ENT OV.

""ZOY
10;.1 -
lN
+20'1
221f. .$",r~1
IB ...
10k.
.001
... 20'1
,o,
• +'30v
,. '.1<.
Il~

.I:' .5n.i..." T,e}

$'"
"r.P. se
~soo-
11I. .1 PJ"-""O e,A.1.. 100""'

':'lzs ~~
4.1~ I ._._ , I

-=- /0"-

:'1~4
I
I lOCA ~ r 6.11".
\AUX. A"'PL.I F'1E:<l.
Mie lN
~ ~
-=- ,
T,".Cc:.
~
I I
'-'l I
,j:>. +ZJ::N
I
... .
~
I ),3'
HtI'O~ ~' T'p' rr' ',4

. . . z.o"
3"'''

~1
1'p. rEi:

JtuJ.'Iõl(,Ag"é~
!>,~

,\
® ~~
O,.~L---------"'5
SIG_IW'ST.r PWR ':IW' TER""'I~A.l-'S

I _~ _
ll-A
5 PI(.'"

-=-
hOTES:
I. Âl.l. RE.'S15TORS 1/2. W .:0'.' ALL <:A.PAC:ITOR~ lN ...... fd • V""L'ESS
OTloilL~'lJl~E '5PE"C.Is:'I~C
Z..ALL TA...ANSI~TGQ.'S AR:.k' 112~'S oR.. Eav' ..... DC.e:PT A~ "'JOTlLD
~ TR"N'S~~"""~A.. ~/N 104\
4. ~ POWE'- ~PP\.V SEE i:).... G., E.eo~-s"

Figure 11-19. Schematic - Preamplifier and Power Amplifier - Student Piano (First Version - 1968)
 PIAM:> lN. +2.0 -tt_ .te> .....
•11 101(

f- ---"No I (I

} Ovr'~
1 ~r"'cekr 7",,-
.• ~4f'VO~"""'''
----'-j 'o' 4~D ,.,
J_'nÇo1C."'o~.
10 .. h-.)
J I ""'A.,s"""n,,.Ov,
",. 1ho
C->O<I
,~.

rT;c.."- 4l ,5.,..... N' .... ~ Ovr

/.();('7 ./

"...-jt-I----·
r.p. O,()
-+IOV

~'
1..1 IC :11""11".1

,
.001
1:,
~-'VJJIT"·i ·zo 1194
+ • +5"
I
I
IS"
/K T.JlI! 49~

~~'''''
c__ p ..-
'T.
..... ".7K
..;rU· ..20V

l
-= 'P"-
60-4
"o
t~ - p/Lor LA"""
'OIo'C ZO....,....

/1". Z"" -ao AVX.

A,HPLIFIE'1f
I-'
I-'
~ --~o
01
~:K
'*"'D:Jrt"
~~
.• .03. .0>3

J~ 'I.,. ./I '~.,«

~
e.lo: .,.7..., ,j
, I

I
,o1\1oI... /I'ot A tlM'l'" I
I

f\l : ~~'R
r.Po ",:-,

:5-/rC1<t 'TE "'.'IY,lt,L S

~ &~
III:: •

8"" She... I ~~
T."'~r
~
l&z:nr
I. AJ... Jq"lnoIU 1\,.... ID7,~ A"" CIl.A«IT'CJI.S I,., If'o./ LI.."LI ••
Onr.A~••• SN(.."r.
2.. I\u.. T..t:.'Il ...... ,'~ ..... NVHBfJl //.?!I Ot f.",.", ~ .(~,.r " . N.a.
3. T~,........,. ..._ '.1 ".. N-- '0411
<ti. '''II "'O~rlr SV'-"'.t.l' SEr Dk/(S. ~~o~-.r

Figure 11-20. Schematic - Preamplifier and Power Amplifier - Instructor Piano (First Version - 1968)
 .'~~ /r~ ,P,y .... SU .. ; .. ,
OR,
,",.Qolo' _ -
-
---~
,------------
." - - ~
G-Jl~
-
r'---

wO
-
------ ----------- -, - - - - - - - - - - - -- V~-s..-

""'IV - I--
."N_ r-

--
o,","
l- -- ~ ~ : ~
SLI(

G.qAl
- f--J
ORG I;i :
,(t@@0
o
l
'(
~CD

roç:rr.A.IW'~r... cJ< -
ro NoIlM. rAPE IIJ 1Ae K - V'O
_
f----
I3LU
\: ..To .JrVO&NT
~

li:
~
P/ANO
TO/HsrEA?JJHO,'t'E JAe/(--- V'O

." ,,~
U
TO AU'1C. ~"",~p;J()"t· .TACA: - ',00

""AI
OJlG
~
~
'1'"
~ ~
:0 ..
8RN
.LlS--
GRN -
84.U-
U
r---
~~ ",NO~M

'@®e~ I VOL.CO'V"'f.-
'---
R.~D
YéL

f-l
f-l
.;."
GirE., -
~
Il:l ~
I
O

I
..
~

"I r-----=-\\=.
.
I
~----
- --
I I
I E~ V
.
."u - I - - -
O"G

(j) fAlJELO GND. TO ''''Ir: M'ICe- ~

>-
~Ii'N
'"
o
o ro .... Uk.
--
1'
.... ~y - jHICl. G-,."b. MIX~
'M& -

~c--~ ~
Y'L -éNU""IfJI.E /1 VOL <:ONTR(J" I O I
<HOlY -SH/~J.LJ TCJ INJ~ ,Artl}l(€ I~N 02 02
....I r - f,vI'LD TO Ati)'. MII'Cl! " l l f __ -
.llJ' - TO Yoe (ONT.... ~NS. 8 ~ 0 .. O ,
CrRN ro 113 :~H:;~.:~~~;)'O ~ O 4 04
..-.. To ENS. A VDf..CONT,:f.~ /.II/sr STuOENT
O"ler
r- P'''NO PIANO
~ur
."N - r.... po!
....
'"
O"" ...J
-
TO B
rtl ...0 ....
0/'/" J"At:.X'
c.oNr.q. f!NJ. A
To ~
REl>--.
'r'fR. S"PPL Y-----:--:--
v/a - -- --------
~-~I.I

- - - -G-~AI ilLU -. 1-- --- -

ro 8 TAP.F I"JAC:k~
>CL
."'N - Tc A T~€ ovT JAc;J<
I1,ilN _
---- - - - - - - -_._-- . _ - - - - - _ . _ - - - __ o _ _ _ _ -
- •• ________ --o
-
.~N - - - f-- '-- --
ToA TA'-4 '''JAe~ ~
v,o
----- _.
_ r o Alo,l1,1.-/AL eH. 0"'&
Io"'OL.CO"'T~OL -rED r-'-'-
"'1) _ -
~ID_ ----

Figure 11-21. Wiring Diagram - Instructor Console

 t" .. "ICV".

[nr.. :. ... f.~"':"

,.,,,,,,,. ~.~~<o., ... ,~"r
..c ..
~o-'I
0f-

·,.·,...... lI.... oI"':"'~

',,' .... ,..,.~ ""~l1T" >--!:

...
";" ";"

I i ~
f)'" .. z~v

,."'t
Al

,.,,~ ~ :r:--- - --+}......... ~

-....... f
o
I ~
!5__ ~ ...J
\.

1Ill_&
,,.. •• -. ....1.0"1: ~P.J~

.n.

-
~

.'"-'~
~ I , I l." I i i • -u,,'
.;."
-:I
~-
-,.........IIõ • .... .rr
.,
'-f~... -- -
-~'~r
...... "". _, ·~·t~l ~o ~""
r- J
~-~~
••

",. • • ~AO"I: o-.IT • .rr

~"1.C"

tor.."... Io4'.... ,""'"T

·'·"'1
AI1'-. ~'IIõ' ""f"ItT
:z.:Q.. ~.C . • Oof~ lQ,t"c"'l[ ... ,-...:~ ...
'''O'TItO ~.......'T. A .:;...... .........-~
,~,... c...) .... oJt"~.AO.,j.

~
;....... · - .... 1

";"

";"

.....,. . . .n ....... ~- I .. '.. OT~ • ..J......:Troo.I M.

....,...'T ..........,. >--it ..
oU

'Cl~, .... cwn"",'""~ -

.,.
eo...."h".,..,.... ~ ..

Figure 11-22. Schematic - Master Circuit Board - Instructor Console

 TRAN5F"ORMER RF:aUIREMENT5
MAX. 2Sv O' 040 AMP5. 33.n.~w
M/H. 22. 5v C) 2..5 AM p.s.
~ AMPLIF/[RS

500
35"
u
r.I·
.L

.Sf.n..IOw
117 VAC

r
'0 HTZ. lAMPS

SOOO,,{
'z.s-",

Figure 11-23. Schematic - Power Supply - Instructor Console

11-28
 CHAPTER ELEVEN
DIAGRAMS, SCHEMATICS AND PICTORIALS

Due to the specialized nature of Electric and/or Electronic repairs, RHODES lil11its this
Chapter to Circuit Board Pictorials, Wiring Di agral11S, and Schel11atics with the intention of
aiding the q ualified technician.

CAUTION

To avoid possible personal injury or damage to the unit, all

electronic repair and adjustl11ent should be accol11plished by
a qualified technician.

11·1
~:

R22

II + 100
E9
R27
-- EB EI E2
c 15
100r ".,
~2J
100
L EO I
R"
PI
C2
RI3
1:- - --; 2 r 220 K CI/

:~
KEY80ARO 120PF
R9 I SOK3 Ria
INPUT I oOOJJ
R2 3, ,S R 32
=C 4,7K 4.7K
rl ~lN

1
220K 55 L __ J 100K
I
'
,
, ." .23 .29
3 A 3A 1

~8
39K 2.2 K 10K --- 4 R37

$
I R3I
C16 100
~~ -~~
'3 7 R24 r 25K 3
lN la K AIA I -v

ACC ESSa
2 CI
,I
3 + s S
Y4
5 . AIS
I 3.3K
,,,4=--
i4-
RIS RlS • EV

wl
I R7 AU o
S 6K
SK
our R 30 R3S
AUO 3 VOLUME +-
L-----o---- Cl9
C7
-----j
I +z3 CIO
I
rU :_O -2..,2 10 K

'17 16 220 K

1
.001 01 RI6 01 I (181
.... SOK
o----
I
001

:~
-
3! R33
LI" 'S .
TR(BL( (13 R20 ~ __ .J
100 100K
PI tiDO

R38

f--"
J CI.
100 + CR2
100

f--" "4 RIO .21

~
VIBRATO SPEEO 10K
IOOK 100 E6 ES
o

~~~
REV AU CII
I 3

'u ~~2
CR3 2 3 4
22
I R3
I 5 E16

~
RI7 P2
IK CS

r jCCK "~4 R36

.01 SI "
~B
RS 2 "-
El 3\C/ EIO J"

.
vI8~ATO

1Vf.~
R26 : 2N3392
PILOT
C8 RII A2~7 I
10K
INDIGATDR

00' \ I MEG U· I
ON EII
,4

R6 R8
--- -MCI~~8PI--- - __ .J
l(O 3Q ~ VIBRATO
INOJGATDR
~
I MEG 47QK RI2
E '8 ~f-----<>
, ""EG E I.
+"
-----'--1
RI9

10 100
C12t +
100

/
=

2.,A.LL CAPACITORS ARE RATED AT 15 VDC MINIMUM, VALUES lN MICROFARADS * 20% ELECTROLYTIC -20% +150%
1, Àl.L...RESISTORS ARE 1/2 WATT VALUES lN OHMS, *10%
NOTES:' UNLESS OTHERWISE SPECIFIED

Figure 11-1. Schematic - Preamplifier Assembly - 100 Watt Suitcase and Janus I

';,,,,,,,f

,,,,'.1'
 PI-8

~J
P4
P2-~
+1!iV + 30V
-

l RI

r~
PI-7 R 22 CI

J~
660 --. 2N5781
PRE"MP 4.7K ~l..lfN.P.
OUTPUT J2 I 25V
R7 c21
I CR' RII R, B
/P2-3
l Rl 150 .S
~,~ T
C6 3.3 RiJ
CH. B .001T K SW
660
R2 IN4148
10QK
I

r-,
I I

~·""·r'~
IMPUT

CH B
J4
I
3
""", I
PI- 4

t--H
!'"
~.6 K
IW

ce
.001

~·-'tJ PI- 2
'::L:t
PC BOARD POWER AMPLlFIER CHANNEL A
'i! 1 100
R15r R2I
.5
5w

- - ------------
~
---- OV

f-..J.
f-..J.
cJ,
PO OV
r-
I
I

,I
pS
F3
UNE CORD
RECEPTACLE

I
J6 I
L
"CCESSORY
OUTLET 5V

;~:-----~~
: E -N ~4 ~ ~
J _ OPTIONAL CONNECTrON " I
1
: - FOR 240',1 OPERATION ON :
Lo I 1
I
I I 3'

&. COMPON(.Ti 1I0UIIIT(0 OH H[ATSuU(

I
r
I
I
j®--~
4 olaDls CRa n ••u [RI A.II'( 0640Si IAMP ,zoo .... I I
I· TRAaal8TOA'$ Ql, azo Q3. ANO Q,., AR[ ZIIl!l784.
\ - PO..... ER SW.- -'
I· "Ll C&MCITORS ARt: AAT[D AT 200IJOC "I 101 1111 UM I "ALUES I'" "1(ROFARA05. ::XPORT
I. &LL 88IST085 AA( ~ WATT Y&LU[S lN OHMS ::! lO/.
_ _ . . . . .CJ'IltlWWIII:..mD
sn ~ 2-:5',[/5 ~2~' l.1J o!t-I($'

Figure 11-3. Schematic - Dual 50 Watt Power Amplifier - 100 Watt Suitcase and Janus I
 P'
+ ,ov_.-I-_~':6...j:~,=====~1===,;:::=~======~==~=:::;==P~2;-~'~~=~=~~l,=-=l
~
, '" I ~
1.~'
'3 [/'J ':( 9 I l' L

'~l\;;:"~L~~:,2:' L'' :'

820 820

t~~ zt1
• \-1 R22 O(CCi\
~-r~
.J ,"J•

Ij' :::
4 7K !; -.jfN.P.

,','~ l~ ~~~ ~r " :~:

2 'V P2-3
2 '2 C. ,., (;~

~
680 .001 -;+-- ~-' :,~i
IN4148 , ;v
J
-
.24 .2 R 19
DUAL SQl< RA

(W$l+-~
1001(
" '
eRG
q 12
'.iDO +-_~~w
2

IGOI<

....... tI I B.'~~ I "].

QFf'S[ T
ACJUsr i 100 (R.lI
PI- 04
~ C", I -....--.-il:'"
I ;:61< IW
I
----..- - - - I
~----+
Q~ I ".-
~09r Ir~.N62')a lA
,01
'/ -+t )RCA30B ~ '\
llIflIII '''"'''
1 ce
'.00\
CR 2
:
, > "
I ,P2-1
f' RI? PZ-;>1
R4
I
---.AIV'- R2 o ~- ; -
RI~
'W,,- {OI.. -3JV-.-.?1 ~_I 33u on RIO
€i8 100
04 1 2
IOW

eH, B
..
" PI- 2 t:==~--;---;:;:::-=-:~~-=---~------J.--
PC BOARLJ POWER
I w

AMPLlFIER CHANNEL A - - - - - -
~
R21

l-r}wJ
'2
+30>'_P~-
•~3av
. --~---~ +30V
f-'
f-' ~IN PC "OARD PJWER AM?L1FIER CI
qooo
m ' - - - - - - - " P - " ,-,-,,-;l!: JU T CHANNEL B I~ J

~i _
40V

.p'- 4 1"NO
GNll
P i
_____--'IL i (2
11000
-30V-:" " j-JOV _ ----------------
40V
J,

----
12.'([l
~(J!~R S!il~ ~ ~ ~ I ----- -50V
- 330 1\,1 W
c-<C-y-J i
R[O ~i
,
r--
~ lINE (DilO
R[([PTAClE
P'
.- ..... J"
~
I ,
F3 --b.~-""",-"""
2 I

~.,
'4 i-:
a~
::>--__

•
lti
~~
.I.. ()--------"
,('.!
-
la
9 E'UI"'YEv,i.
)----

8L K/(,w'~
-'-'~~
rH:O _ 3
r

~
REU/Y[l
'--"2

~=:t--~.--~.
'..
,
4 !
Lz..1'----r'-- P~34 -IOV

..B'.b ON "., V'~RN

'"'Y' \'5t " +
'00
0333."

, '3-Z~+I'"
-'>I-"_~~~~ IlBI</REL~
A(([SSORV
OUTl[T C/l 11 ~
IZ '''Ii
1000 ....
3>V
012329
-L

.--
Il COMHNUlTI' MOUNHO OH H[ATSIHI<. ,
~:';O~RT
• OIOMs CAI lHAU CIlI, AA( 060408g IAWP lOO ....
• TAAUU!,Tc>R5 QI, al, QI, ANO Q", AR( 2H511104.
i ALL. CAMeITOAs. ARe; AAHO Al ZOOVOC WINlWUWl ...AlUts lN WICROFARAO'. : -POWE: VERSIQN----
t· tLL AOIl!HOn A" II1: .... TT VALUU lN OHWS ! lQ/..

Figure 11-4. Schematic - Power Amplifier - Janus I

 ", . '.. ."., ~
'"
II

CUTTING INSTR UCTIONS FOR TONE

GENERATORS

Inclu;':ed in this kit are:

I . • p/N·024297
6 - #120063 Tone Generator Asse~blies
6 - #069658 Tuning Springs
6 - #069666 Tuning Springs

You will note that a11 tone generators' are the sarne 1ength and wi11 have
to be cut (with sharp wire cutters) to the 1ength as shown in the follow-
ing chart.

Measurement is irom the inside of the sguare rod in which the tyne is
mounted. Slight errors in 1ength can be compensated by the tuning
springs; but accurate measurement and cutting wi11 secure better re-'
, . sults andmore flexible tuning and tone adjustrnent. .~

. Any guestions shou1d be directed to: '10''' ...

. --:""..

CBS Musical Instrument$

-1300 East Valencia
Fu11erton, California 92631
"
--...;",,;.--'-- ---.------r--------t----r-------t-----".-'-=::--;------t---+------t-----:...,r--
~~-~ngthl'SPi'ing# ' Co1or No. Length Sp~~~g' #- ... Ço~or No. Length .§j?ring# Co1or
- ,~,.-~ I
........ -
- ., i
6-5/32" 069658 Ye110w 25. 3-9/64' 069658 ,Yellow ~}t" ,J:19/32" 069666 B1ue
. - 6 1•. .- 26 3-1/16" 50 1-19/3 2 "
5- 2 7 /3 '2." I'

"~~=~-{~f:i?,"lr'
.
"
27
" 28
te 29
3"
2-15/16'
2 -13 /ib'"
.. _'---

~.!'"' •• .....~ '

51 1-9/16"1
52 - 1-1/2""
53 "'1-15/32'
--
.I 5:-1l!32Ai 30 2 -49/64 ' _''''''''' -, 54 1-27/64' : ., ..
5-1l/64~1 31
32
2-43/t4 , . .
2 - ~ 9/64' ',',;" '.'
..~
5
56
5 1- 3 /8 " -, '.,.
l-IV 3 2 " . ~..... I
I:, !
'.- 5 -1/16 11 ..... - .
" 4-61/~" 33 2:-~tB rr"''' ....r1's-} 658 Yell,?,w' '57' ,". 1~i.tI3Z" . -. :::.[':'~ .~, ~
'~.~Z2,L 3 2 11 34 2-1/2:'1 0696'66 B1ue'" . 58· !
.
J
,
1-19-l64: Jl '"
4-41/64" '35 2-7/16" 59 1-17/64"
4-29/64" 36 2-23,/64 60 1-7/32"
4-23/64" 37 2-9/32" 61 1-11/64"
4-17 /64" 38 2'-7/32" 62 1-5/32"
4:-9/64" 39 2-1/8" 63 1-1/8"
4-1/16" 40 2-3/32" 64 1-3/32"
3-31/32 1l 41 2-3/32 1 ' 65 1-1/16"
3-7/8" 42 2" 66 1-1/16"
3-3/4" 43 1-31/32" 67 1-1/64"
3-21/32" 44 1-29/32" 68 63/64"
3-17/32" 45 1-53/64' 69 31/32"
3-7/16" 46 1-25/32' 70 61/64 1 '
3-11/32 1 ' 47 1-47/64" 71 15/16"
3-7/32" 48 1-19/32" 72 29/32"
73 57/64" 069666 B1ue