With more than 20 years experience I’m one of the most knowledgeable electric piano technicians in the UK. I specialise in servicing all models of vintage electromechanical piano, Fender Rhodes, Wurlitzer, Hohner Clavinet. Pianet (all models), Cembalet and ElectraPiano. I also have experience with more obscure models such as the Columbia Elepian and Weltmeister Claviset/Selmer Pianotron as well as early and rare models of Rhodes and Wurlitzer. I very much enjoy the challenge of figuring out the mechanics of the rarest electric pianos, as well as troubleshooting any piano related issue, no matter how impossible it seems.
My regular clients include Soundgas and Klassic Keys (all their Hohner keyboards). Prior to Brexit I was the main Rhodes tech for almost 10 years at ep-service.nl. I have also written 2 of the definitive electric piano articles in Soundonsound, a profile of the Clavinet inventor Ernst Zacharias and the review of the Rhodes Mark 8.
Based in the Central Belt of Scotland, I have been using the same trusted door to door couriers for years to collect and deliver serviced pianos all over the UK. If a client needs to meet and test an instrument in person I also have access to a workshop near Loughborough which I visit monthly. If a service visit is necessary for small repairs that can be arranged, though having learned from experience that most keyboards present unexpected problems I don’t offer any form of fixed pricing. Quotes are made only from a careful look at each individual case, either in person or online through photos and recordings.
Whilst I refer any enquiries about mainstream aftermarket parts to the established UK parts suppliers electrickeys.co.uk or to the Rhodes official spares site, I do stock some rarer and bespoke items on my For Sale page.
Electric piano service is about a lot more than blindly installing aftermarket parts and hoping for the best. In every model of electric piano the interplay between the different action parts is complex and needs to be thoroughly understood in order to optimise playability. My service processes have evolved throughout my career as each piano has the potential to present new and frustrating problems due to flaws in the original manufacturing process or shoddy work by a previous tech.
Below is a brief outline of my service procedures for each of the main models of electric piano.
Rhodes Pianos
With the last Rhodes having been manufactured in 1985 the majority need new keybed felts, bushings, pedestal felts and backrail felt. Most Rhodes that come to me get all of these changed including, where necessary, front guide pins and balance rail pins as these are often rusty. Where tonebars or the harp frame are in tarnished or rusty I will generally send them for replating. Attempting to polish or sand tonebars never gives a good finish and degrades the original plating so I don’t waste time on this.
As a matter of course I change all tonebar grommets for new Vintage Vibe ones. Hammer tips I generally fit all new hammer tips but custom voice all Rhodes with a durometer to optimize break points: there can be a lot of variation of hardness between aftermarket hammer tips and the original hammer tips.
I look to find the sweet spots of escapement, strike line and key pedestal bump location as well as making sure keys and hammers are level. This gives the most optimal playing experience. I generally mod original damper modules to achieve extra tension, or replace with new modules where the bridal strap mount pins have excessive corrosion and are likely to break. Single damper arms from 1975 or earlier Rhodes I generally mod for extra tension, though Vintage Vibe also offer replacements.
Wurlitzer Electric Pianos
To get a good baseline on a Wurlitzer I make sure all reeds are centred in the pickups and have good sustain and attack. I don’t file or solder in the harp as this leaves excessive debris and can damage the pickup. If the reed needs solder applied I have a test harp I use to bring reeds to pitch so that the final tuning adjustment can be done just with reed placement within the motion allowed by the reed screw. When tuning is complete both harps are meticulously cleaned under a magnifier to minimise the possibility of pickup-reed shorts (compressed air isn’t always the answer to harp distortion).
The Wurlitzer action interplay is complex with key dip affecting hammer check off so I take a wholistic approach to action setup, likewise with models older than the 140 where the action designs are radically different. I also look to change keybed felt as most pianos that I see, even if cosmetically in good condition have it worn out.
Clavinets.
I generally look to change strings, grommets and hammer tips for new Vintage Vibe equivalents whilst switching to Clavigel to replace the damping yarn. In the case of failed pickups I fit new Vintage Vibe replacements and generally carry stock of replacement preamp transformers. In the action setup I have processes to ensure no sticking keys, a problem which can appear unsolvable to the inexperienced. I also ensure evenly aligned and click free hammer tips and that the key dip sweet spot is found.
Pianets
Pianet T/M
The T is vulnerable to sticky keys so I make sure the action is lubricated to eliminate this. All reeds are tuned and voiced for fundamental/harmonic balance as well as volume and sustain. I can repair broken pickups and source replacements for the output transformer which is sometimes known to fail. In a properly set up Pianet T the original pads can be serviceable, and though the aftermarket clavinet.com pads do give a bit more attack I don’t always consider these the right choice as they depart from the original design principle.
Pianet N and other wood case models
Whilst these Pianets have a fantastic sound they are tricky to get right due to the design. I make my own sets of sticky pads to the correct spec from the original patent. The amps on these are old so I go through these to minimize noise. Again, all reeds tuned and voiced.
As I personally have a large stock of these Pianets I’m currently looking into ways of improving the overall practicality of the design in all areas. They are one of my favourite electric piano sounds and deserve to be used more widely!
Cembalet
The Cembalet has a lot in common with the wood cased Pianets aparts from the plucked action. I have a source of new pluckers for these, the originals literally turn to liquid over time! I also manufacture the plucker holders: these are vulnerable to fracturing as the damper arm screw is tightened, and once broken difficult to practically repair.
Hohner Electra Piano
These wonderful sounding instruments are rare but I’m fortunate to have owned and serviced quite a few, the console models but also the even rarer portable model T which I still have. I can tune, voice and regulate the Electra to get a big improvement in sound, as well as mitigating some of the poor design choices which possibly contributed to the curtailment of its production in the 70s.