￥When recording a Rhodes piano, nearly all, (or all), instruments that has been recorded for a sampled instrument are lined. That means that you take the signal from the instrument, and feed it directly to the recording device.
This means that you will get a very clean, bright signal. And that is, in itself, a good thing!

 

This is exactly why I choose not to do so!

 

When Fender tuned and set up the Rhodes pianos on the factory, they used a Fender Twin as a preference amplifier. That was the way the where intended to sound.
Personally, I’m used to feed my eardrums with the Rhodes/Fender Twin sound since my good friend Tomas Sunmo (remember Sunes L100) used to run his Rhodes through a Twin and we played together for a long time. (Tomas have now moved to southern Sweden and as a result, we don’t play together and his children has a weird accent..)
And since the piano used for the session was Sunes, well, it just had to be a Twin!
The instrument was bought by Tomas back in the seventies, around -75 I think, and it’s been in his care since then.
Tomas always took extremely good care of his instrument, (he nearly punched me one time, when he found one of my plectrums inside the piano. That was a long time ago and we are both older and wiser), even so, the Rhodes was tuned and fixed by Fredrik Adler, Sweden’s top Rhodes tech!
The amp wasn’t set up to produce distortion, just to add character and flavour, and it did!
This Rhodes doesn’t sound like a lined Rhodes, it sounds like a Rhodes played through a Fender Twin – The way it was supposed to.

 

The Mk I Seventy-Three has no less then 16 different velocity samples/note and this gives you the dynamic response that’s not found on any other sampled Rhodes. Add to this 16 matching release samples and you’ll have 32 samples/note!