Cembalet

It was adopted by popular musicians for recording and performance in the early 1960s because it was portable and easy to amplify electronically.

Each key is a single lever element pivoted on a fulcrum point with a spring to return it to the rest position.

The key is extended at the rear so that a plectrum and damper pad can be mounted close to the tuned spring steel reed.

The unique playing feel of a Cembalet comes from the resistance of the steel reeds as they reach and exceed their point of release.

Reed-based pianos have voices that differ markedly depending on the material and geometry of the reeds, the way they are excited, and the way the vibrations are converted to electrical energy.

In addition the plate of the capacitive pickup is to the side in the Cembalet producing further differences in the way the vibration of the reed is converted to an electrical signal.

It has tapered cylindrical wooden legs with gold ferrules at the foot that mount to angled blocks on the underside of the case.

The word 'Cembalet' appears in gold facing upward on the left hand end of the music support ledge.

It has tapered cylindrical wooden legs with gold ferrules at the foot that mount to angled blocks on the underside of the case.

The word 'Cembalet I' appears in gold facing upward on the left hand end of the music support ledge.

The word 'Cembalet C' or 'CH' appears in gold facing upward on the left hand end of the music support ledge.

It has a gold hammertone painted aluminium fascia panel below the keys with a lock fitted centrally.

The word 'Cembalet LH' appears in gold facing upward on the left hand end of the music support ledge.

It has tapered rectangular cross-section legs in an inverted 'V' that mount to the ends of the case and are secured by a large threaded knob.

Backbeat Books, 1993 & 2000, ISBN 0-87930-603-3 - Chapter on electric pianos, harpsichords & clavichords of the 50s & 60s by Barry Carson.