Sooner or later, everything old becomes new again. During the past few years, more and more keyboard players have followed in the footsteps of their guitarist compatriots and replaced contemporary instruments with gear made in the '60s and '70s. The reemergence of electromechanical keyboards such as organs, electric pianos, and Clavinets resonates from the largest festival stages to the smallest dive bars. A new generation of players and listeners is getting hip to sounds that have been around for decades.
Now vintage keyboards can crop up virtually anywhere, from electronica and hip-hop to country, rock, and blues (the Hammond organ in particular cuts across stylistic lines). They're most prevalent, however, in soul-jazz, funk, and jam bands. Successful modern groups featuring vintage keyboards include Phish; Medeski, Martin, and Wood; Soulive; and Galactic. In addition to the big-name groups — that, after all, have roadies to lug the inordinately heavy old keyboards — a plethora of jazzers and jammers use them on club and bar gigs, carting the ancient behemoths around in the backs of vans, pickups, cars, and SUVs.
YOU HAVE TO PAY TO PLAY
Playing a vintage keyboard can be a bit like driving an old British sports car or owning a boat: on the surface, the idea is cool, but a serious level of commitment is involved. The instruments are big, heavy, and fragile. They're 20 years old or more, so replacement parts can be hard to find; often, components have to be cannibalized from junkers beyond repair.
Vintage instruments can be moderately expensive to purchase and difficult to find. Generally speaking, they're much harder to transport and set up than modern instruments; for instance, a Hammond organ can only be moved by a minimum of two (usually four) able-bodied victims willing to sacrifice their backs to the cause.
WHY PLAY A VINTAGE AXE?
Considering the fact that innumerable dependable, affordable, newly manufactured digital instruments are able to create reasonable simulations of the old keyboards — in a single, small, lightweight box, mind you — why are so many twenty- and thirty-something keyboardists shucking their modern gear in favor of the old standbys? Three reasons: sound, feel, and vibe.
Truthfully, I have yet to hear a simulation of a vintage keyboard that sounds indistinguishable from the original. Huge advances have been made in digital-modeling technology, and the simulations are sounding closer to the real thing all the time. But there's a depth, a subtlety, and a power to the originals that's hard to replicate. I think anyone who has spent a serious amount of time listening to old Jimmy Smith or Herbie Hancock records can hear the difference.
The ergonomics of an instrument dictate important aspects of a musician's performance. Whole vocabularies of riffs and performance gestures have emerged from a particular instrument's design. The layout of the controls, the feel of the keyboard, and the limitations of an instrument can determine, in part, the notes and technique a musician uses. The thick, thuddy action of a Fender Rhodes piano begs to be dug into. A Clavinet's ultralight, springy action lends itself to a percussive, dancing approach. The Wurlitzer electric piano's action is somewhat akin to an acoustic piano's. And the action of a Hammond organ has a certain amount of push and bounce; its slightly rounded keys feel nothing like those of a typical synthesizer. Each of those instruments has a precise individual personality. Playing digitally simulated versions from a generic MIDI keyboard will necessarily negatively affect their characteristic sounds and limit the authentic technical expression of the keyboardist.
Finally, there's the vibe of the instrument. Many audience members don't know the difference between a vintage instrument and a digital keyboard, and most couldn't care less. But some do, and to them the analog giants can add an air of legitimacy to a group. A listener once told me that having vintage keyboards onstage gives the perception that the keyboardist is into it for keeps, and that, as a result, something special is happening in the music. The old-time instruments are coming back for a reason (actually, they never really left).
THE CLASSIC MODELS
The Hammond organ with Leslie speaker
The almighty Hammond organ is the most well-known vintage keyboard, probably because it's such a powerhouse. A Hammond can produce a huge range of sounds — raunchy and distorted, muted and percussive, sweet and lush. It has fit the requirements of all sorts of musicians: in the '60s and '70s, jazz players such as Jimmy Smith and Larry Young bent it to their wills as did rock musicians such as Rick Wakeman and Greg Allman.
The instrument's sound is generated by a series of small metal discs with teeth. The discs (or tonewheels) are spun by a small internal motor. Magnetic pickups placed beside the tonewheels translate the resulting electromagnetic fields into sine waves of varying frequencies. By moving a series of sliders called drawbars, you can change the timbre of the instrument on the fly by mixing together various frequency levels. Additional tone shaping is achieved through a unique-sounding chorus/vibrato and an optional percussive click that can be added to the notes of the upper manual, or keyboard. The signal then runs through a lovely sounding built-in tube preamplifier and straight into the Hammond's counterpart, the Leslie rotating speaker. The speaker is actually a wooden cabinet that houses an amplifier (tube or solid-state, depending on the model), a speaker (or speakers), and horns. The amp feeds the speaker; the speaker is connected to the horns, which rotate, thus creating the distinctive “whooshy” Leslie sound.
Hammonds and Leslies are the largest and heaviest instruments in the vintage arsenal. A full Hammond B-3 weighs 425 pounds; a typical Leslie, 150 pounds. There are special carts and dollies made specifically for moving Hammonds, but many keyboardists prefer to chop, or cut down, their touring organ. By sacrificing the foot pedals and replacing the tube amp with a lighter solid-state one, a keyboardist can remove the organ from its huge wooden cabinet and place it in a smaller, more portable box (see Fig. 1). A full 215 pounds and several feet of size can be saved this way. Unfortunately, you can't chop a Leslie, but you can add casters and recessed handles to make it easier to move.
Hammonds and Leslies come in several models. The most prized Hammond is the B-3, but it's mechanically identical to the C3 and A-100 series organs. Chopping either a B-3 or a C-3 is considered blasphemous; the A-100, on the other hand, is the same organ packaged in a rather hideous cabinet designed for grandma's parlor, so it's grist for chopping (don't do it yourself, though; leave it to an expert). The L-100, M-100, and M-3 series of organs are quite a bit smaller and can potentially be used as-is. Be warned, however: although they're more portable, their tones are not quite as beefy as the B-3's.
The most coveted Leslies are the 145, 147, and 122 models (see Fig. 2), which feature two speakers, two rotation speeds (chorale and tremolo), and a tube amplifier. Alternatives for the road are the 760 series and the 900 series, which have casters, handles, and tolex-covered cases; unfortunately, their solid-state amps and Styrofoam low rotors don't sound quite as good as those of the older Leslie models. A host of other models exist, some of which are single-speed but convertible to two-speed.
The Wurlitzer and Rhodes electric pianos
The two most successful electric pianos of the '60s and '70s were the Wurlitzer and the Fender Rhodes. The two instruments function quite differently. Each has its own distinctive, instantly recognizable sound. The choice between them is really a matter of taste. (I have one of each; which one I use for which gig depends upon my mood.)
The Wurlitzer's action is similar to that of a conventional piano. It has a series of metal reeds that are struck by hammers. Each of the reeds is surrounded by an oppositely charged reed plate. When you strike a key, the corresponding reed vibrates, creating a capacitive differential with the reed plate, which is then translated into a voltage oscillation in the amplifier. That signal is sent through a vibrato circuit and then out to an internal speaker as well as a speaker output. It sounds complicated, but the resulting sound is simply great — a shade muted and understated, with a tough, “honky” bite that punches through a mix as you dig into the keyboard. The Wurlie has a hip and funky vibe and is well suited for percussive keyboard styles, though it is also good for sustaining long, gentle chords.
Wurlitzers are rather fragile, so it's important to baby them. A good road case is essential for safe transportation. The models you see most on the road are the 200 series, which are fine instruments. Some players prefer the 140B (see Fig. 3), however. It's an older, more ruggedly constructed model with better shielding, which results in a better signal-to-noise ratio. Both instruments are fairly small and manageably light, even in a case.
The Fender Rhodes piano's sound is brighter and more metallic than the Wurlie's. Notes are produced by hammers striking metal tines; the innards of a Rhodes can perhaps best be thought of as a series of tunable tuning forks. The sound is somewhat bell- or chimelike. Ubiquitous throughout the '70s in ballads as well as on jazz-fusion albums, the Rhodes can sound gorgeous and incredibly cool. Its action isn't quite as fast or smooth as the Wurlie's, but a Rhodes would nonetheless be my first choice for a jazz gig.
Over the years, many Rhodes models have been manufactured. The primary choice is between the stage and suitcase models. The stage models require an external amplifier, whereas the suitcase models come complete with an amp and speaker. Experts often prefer the suitcase models' sound. The pianos come in 54-, 73-, and 88-key versions. The best-sounding Rhodes is generally considered to be the Mark 1 suitcase model; the best-playing Rhodes is thought to be the early Mark 2, which has wooden keys.
Rhodes pianos are brutally heavy, particularly the larger suitcase models. Except for the relatively light 54-key model, a Rhodes requires at least two people for transport. On the positive side, Rhodes are fairly compact, pretty easy to find, and generally reliable. Overly forceful playing can break hammers and tines, but those parts are now being remanufactured, so they're easy to replace. What's more, Rhodes pianos are built to travel; unless you're flying, they don't require an additional road case.
The Hohner Clavinet
As vintage keyboards go, the Hohner Clavinet is the closest to an electric guitar. The Clavinet (or Clav) is an electrified Clavichord — essentially a baroque-period instrument with electric guitar pickups. Billed as the funkiest keyboard ever made, the characteristic Clav sound defined such songs as Stevie Wonder's “Superstition” and Billy Preston's “Outta Space.”
The Clav looks something like an Autoharp, with its series of strings laid lengthwise. Hammers with tiny rubber tips land and press down on the strings, similar to the way a bass player's thumb might pop a string. A pair of pickups on the bridge allows for a variety of timbres, from rich, bassy chords to nasal, hollow funk. A Clav is rarely seen without a wah pedal; I use a current Dunlop Cry Baby. The standard-issue Clav is the model D6, which has a wooden case. I prefer the rarer E7 (see Fig. 4), which was designed for gigging and is clad in black tolex, with beefier shielding. Either way, the Clav is a fragile instrument and needs to be treated with kid gloves. A hard-shell case is an absolute necessity.
GETTING AMPED
Running a 30-year-old electric piano or a Clavinet through a modern solid-state keyboard amp can compromise the overall vintage vibe. Fortunately, guitar and bass amps work really well with these instruments. I'd recommend something with at least one 12-inch speaker, because the 10inch models are ill equipped to handle a keyboard's low end. My amp of choice is a silverface Fender Twin Reverb, a 2×12 tube amp that's loud enough to keep up with a guitarist. Several other '60s and '70s Fender amps sound great as well. Many people like the way a Roland Jazz Chorus (a solid-state amp) sounds with their Rhodes.
The final piece in the puzzle is your choice of effects. A host of new pedals based on '70s designs are now being made. Fulltone makes a whole line of excellent-sounding distortions, overdrives, and choruses with true bypass that sound great on vintage keyboards. The MXR Phase 90 and Phase 100 are still being made. Electro-Harmonix manufactures the Memory Man, the Big Muff, the Small Stone, and the QTron, among others; HAZ Labs makes the Mu-Tron III+ envelope filter. Original vintage pedals can also sometimes be found in the classifieds.
REPAIR AND MAINTENANCE TIPS
If you're going to invest in a vintage instrument, you want to make sure that you're getting your money's worth. After all, the warranties for most of the instruments ran out about the time the Beatles broke up. Matt Cunitz of Vintage Keyboard Repair in Berkeley, California, knows a thing or two about buying and maintaining a vintage rig. According to Cunitz, the first thing you should do is play the instrument from top to bottom. “Make sure you get sound out of every note,” says Cunitz. “Check every switch and knob to make sure they all work. Pay attention to problems with crackle or static as you move a switch; these can often be resolved with contact cleaner.”
Try to ensure that you're getting all the parts that came as original equipment: legs, covers, sustain pedals, and so forth. Pay attention to the cosmetic aspect. “If the outside of the instrument is beat, you know it's been played hard and dragged to many a gig,” says Cunitz.
With a Hammond organ, pull each drawbar out one at a time and check every note. “Test both manuals with both sets of drawbars,” Cunitz says. “Make sure that the percussion and chorus/vibrato work. And if you are buying a Leslie, test both speeds.”
With Rhodes and Wurlitzers, open the lid and take a close look inside. Look for corrosion on the metal parts and other signs of wear. “All vibrating parts are subject to eventual metal fatigue,” says Cunitz. “When a tine or reed is ready to go, you'll notice that it drops in pitch. In both instruments, you should also check the condition of the hammer tips. If they're broken or cracked, they'll need to be replaced.” Listen for strange sounds, too. For instance, zapping, popping, or whistling coming from a Wurlitzer indicates that there is debris on a reed or reedplate; fortunately, that can be fixed easily.
The Rhodes is relatively simple for the owner to work on. An inconsistency in timbre or volume can be adjusted easily. Unfortunately, except for the newly manufactured hammers and tines, replacement parts are expensive and difficult to come by. Nevertheless, according to Cunitz, the Rhodes is tougher than the Wurlitzer. “On the road, a Rhodes will stand up to more abuse than a Wurlie.”
When buying a Clavinet, make sure that the A/B and C/D switches (the pickup selector/phase switches) work in all positions. If they don't, the pickups could have a problem, and that could cost a lot of money to fix. “Many Clavs have cracked pickups,” says Cunitz, “and they usually can't be repaired, only replaced.”
Virtually any Clav that hasn't been reconditioned will need to have its hammer tips replaced. “Open the lid and check them out,” says Cunitz. “If they're orange, they're probably original. Play every note carefully. If any notes retrigger while letting off the key, the tips need to be replaced because they're sticking to the strings. Look for corrosion on the strings and at the condition of the yarn that mutes the strings behind the striking point.”
GIG-SURVIVAL TIPS
Keeping the beasts alive and well isn't as simple as just crossing your fingers and hoping for the best. A bit of TLC and careful planning can help avert catastrophe on the road. Cunitz advises that you take along some of the most common spare parts as well as some basic tools. “I'd bring a socket set, Phillips and straight-end screwdrivers, wire cutters, superglue, a decent voltmeter, a low-wattage soldering iron, a file, and a tuner,” says Cunitz. “Your guitarist's chromatic tuner will do in a pinch, but a piano tuner is optimal for getting all the frequencies.”
For Rhodes pianos, “bring some replacement hammers and tines, if possible,” he says. For a Wurlitzer, “bring replacement reeds for the middle section of the instrument, where most of the playing happens.” If you have to replace a reed, treat the screws gingerly, as they tend to break. If your Wurlie hasn't been serviced for a while, have its amp checked out before you hit the road, just to be on the safe side.
With a Hammond and Leslie, “it's a good idea to bring extra tubes along in case one breaks,” says Cunitz. “Unless the tone generator assembly has been shockmounted for the road, it must be locked down before any movement, or it will bang around.” Clavinet strings occasionally break. “Eighty percent of them can be replaced with nickel guitar strings that have had the ball ends clipped off, or with mandolin strings,” says Cunitz. Be aware, however, that the bass strings are longer than guitar strings.
JUST IN CASE
Once you've found, bought, cleaned, tuned, and otherwise fixed up your vintage keyboard, you'll probably want to take it on an actual gig. Again, take care; don't just toss it into the back of your van, or you might end up playing air piano that night.
The first thing to do is invest in a hard-shell case. Of the instruments covered, only the Rhodes can be transported to local gigs without a case. Fortunately, most of the cases can be made of fairly lightweight ¼-inch wood — except for the Hammond, which requires thicker, heavier materials. For local gigs, Leslie speakers can get by with a soft cover.
DON'T BREAK YOUR BACK
Hammonds and Leslies need special transportation considerations; most of the remaining instruments will fit into a standard hatchback. When I bought my chop, I reluctantly joined the SUV crowd and purchased a Toyota RAV4 to carry it. The seats come out of the back, leaving just enough room to carry the chop and a Leslie. I'd recommend against open pickup trucks, lest a surprise rainfall ruin your day (and your instrument). Search the classifieds for older cargo vans — a Ford Econoline or a Dodge 250 would be a perfect gear-hauling vehicle.
Dollies are the unsung saviors of the gigging musician's back. With vintage keyboards, they're a necessity. Magliner makes a portable folding dolly that's lightweight, strong, and capable of carrying quite a load. For a chopped Hammond, I recommend using an appliance dolly meant for lugging refrigerators. They feature a safety belt that wraps around the instrument and harnesses it to the dolly. If you're going to carry around an unchopped Hammond, you should invest in a set of Roll-or-Kari dollies, which are specifically designed for the instrument and which can be left attached.
YOU GOTTA HAVE FRIENDS
The most important asset you can have when dealing with vintage keyboards is a pool of sympathetic friends and bandmates. You will definitely need their help to move, set up, and tear down your gear. Like drums, vintage keyboards tend to take up more room onstage and thus need to be blocked out and set up before the other instruments.
When I made the switch over to vintage gear, I asked my bandmates if they were willing to deal with the additional inconvenience. They agreed, and everyone is delighted with the results.
