I love some of the equipment I've collected over the years. I have also acquired a fair amount of junk as well. No place is the line more blurry than in the "vintage" gear. But that old Hammond M-100 may only fetch $200 on Craigslist.org, but it may be worth $1000 to you with some work and a good Leslie speaker. If you don't know what I'm talking about, read on.
Vintage – an important but meaningless word
"Vintage", a word that comes from wine-making, is simply a word that describes the year something was made. For example, the vintage of a 1999 Chateau St. Michelle Merlot is 1999. Simple, right? But for musicians, a piece of "vintage" gear is one of enough historical significance so as to warrant its continued relevance and value today.
"Vintage" keyboards (and instruments for that matter) are that category of instruments that pre-date Rainbow Brite™, often fail to shine aesthetically, but can (if taken care of properly) knock the socks off most anything else made in the last 20 years. They come with "character" rather than scratches, and sound, rather than shine.
Not all old instruments are considered "vintage". For example, a 1981 Samick acoustic, is not, and probably never will be considered a "vintage" instrument. The key here is desirability. However, I got the privilege of playing Matt Maher's 1945 Gibson acoustic guitar – which sounds great even now! As is the case with good acoustic instruments, it will often sound better after 10 or 20 years than it does new!
Here are a couple examples of "vintage" instruments, if you can find them:
- Pre-WWII Martin guitars (good luck finding one)
- Stradivarius violins
- 1965 Fender Stratocaster
- 1960 Gretsch Nashville or Tennessean
- 1971 Fender Jazz bass
- Hammond B3 Electric Organ
- Fender Rhodes 73 Electric Piano
What makes these instruments special?!
- Most importantly, none of them are manufactured anymore. Even if they are in "re-issue", meaning similar look and electronics, they were not made at that time
- Often, they represent a particular sound associated with that part of history, or were made popular and became desirable
- Sounded great
A couple of reasons for these instruments being important is that they produce a sound you can't produce any other way.
For example, Stradivarius violins are so highly sought after because the builder was a master and has died, the woods used no longer exist because the climate in the 1800's when they were built was especially wet, and they sound fantastic. You simply cannot build a better violin today for some of those reasons! (I especially love the climate reason.)
Vintage Keys
Vintage keyboards are a little different breed from other instruments when it comes to vintage and value. "Vintage" keyboards still tend to be electric in nature, and therefore not always a better pick for use in worship.
The key drawbacks to owning a real vintage keyboard: tuning, hums, buzzes, fuses, weight, and cost of repair. But, the key reasons to own vintage gear: character, authenticity, expressiveness, grittiness, and… well it's just cool.
I guess the big thing I love about vintage keys is authenticity and expressiveness. For example, I own a Wurlitzer 200. Its preamp is noisy. Its keys often need tuning. The action needs work. It's as heavy as my 88-key digital piano. None of this would be a problem if I had bought a Clavia Nord Electro and used their model. But, the sound of the reeds being struck be hammers is so honest, you can't replace it. The fact that things are slightly out of tune – it's not all bad!
I like to think of this as the difference between polished singers and singer/songwriters. You may disagree with me, but I often find more sincerity in the unpolished honesty of a songwriter like Ben Folds or Elliot Smith than I find in the overproduced sounds of Justin Timberlake or David Coverdale.
Here are a couple models to watch out for on Craig's list or eBay and save up for. You may need to have a friend with a pickup for some of these!
- Hammond B/C3
- Wurlitzer 200(A)
- Farfisa
- Fender Rhodes 73
- Yamaha CP80
- Rhodes Suitcase EP
What makes these instruments interesting to list to is that they use real, physical means of producing sound. For example:
Hammond – spins a wheel ("tone wheel") at a high rate past an electric pickup to cause the pickup to modulate (vibrate like a microphone).
Wurlitzer – uses a hammer like a piano to strike a "reed" to make it vibrate, and is picked up via a pickup like an electric guitar.
Rhodes – Uses a non-articulated hammer to strike a "tine", like a xylophone to make a sound, which is then picked up like a guitar would.
CP80 – works just like a piano but with an electric pickup (again, like a guitar) on the soundboard.
The problems here with producing physical sound, especially for worship, is that they often have issues:
- They often go out of tune
- These instruments are often electrically noisy
- Can be unpredictable (try finding a fuse for these during a sermon or homily!)
- Are heavy to lug around
- Are often quite fragile and sensitive to climate changes
The sad part is that many of these issues cannot be worked around without good maintenance, and even then can cause you pain on Sunday! So, now we've come to the very crux of the matter: "Vintage" does not mean "good", especially when it comes to keys. But there are alternatives available.
Alternatives
Your typical keyboard will have settings for Hammonds, Wurlys, Clavs, and the like. Most of these are "PCM" based (sampled recordings of actual instruments). While this sounds good, it's not the same as the real thing – nor will it sound good typically on its own.
Each of the real versions of these instruments (Hammond, EPs) use actual physical means of making sound – yes, even though the instruments are electric! A single recording of these instruments (as most digital keyboards have) is never enough to represent the range of sounds producible by the original, and its inferiority honestly is apparent.
But, there are instruments out there that model the physical nature of the sound, and even give you control over the creation of that sound to come up with some of the best available emulations out there – without the price or unpredictability.
First are the hardware based instruments like the Clavia Electro, Korg CX3 and Roland XK-8. These instruments offer a lot of options that will suit your needs well. For example, all offer a major feature of real organs called "drawbars" that let you configure the sound of the organ on the fly! (We'll talk about playing with this in a future article.) You can also configure your rotary speaker emulation to work just the way you want it, recreating those great sounds you hear today.
Roland VK-8
Also available, for those tied to the latest computer technology, are plug-ins and the like that can be run on a portable laptop computer that will create those great sounds in a controlled fashion, like Apple Logic's EVB3 and Native Instruments' B4. Both of these have great organ emulations. You can model the age of the instrument, it's noise, tuning, speakers, and even how much noise would be made hitting the keys! The disadvantage is that you have to rely on your laptop, so have a GOOD, clean low latency output. You'll still need to bring a keyboard to control the computer.
However it's still not the same as playing the real thing. So, if in my opinion, if you ever get a chance to play the real thing and can't have it all the time, DON'T. You'll wish you could, and you'll always be comparing the emulation to the real thing. ;-)
Models to check out: Clavia Electro, Korg CX3, Roland VK-8, Hammond XB-3, Apple Logic's EVB3 and EP88, Native Instruments B4 II.
My personal take
My favorite keyboard to play live by far is my old Wurlitzer 200. It has a single output jack that I plug into a DI box (because after carrying this thing around, the last thing I want to do is carry around another amp.) It's old, it clunks, it buzzes, it only makes one sound, goes out of tune, and is heavy. I take the laptop with me occasionally and play Hammond sounds though Logic. I also sometimes play the emulation in my Roland RD-700sx (which also emulates tone wheels).
I use a variety of tools to create the sound, and when it comes down to it, I try to do what's going to work best for the music. If the buzz is a distraction, I stay away from the Wurly. If I need to lead, I'm on the piano or guitar.
Do what's right for the ministry, and be ready for the answer to not be any ONE thing.
