Rhodes is now allowing everyone to order their dream MK8 electric piano (if they can afford it)

Rhodes MK8
(Image credit: Rhodes)

Having previously opened up its website to those who signed-up for early access, Rhodes is now accepting orders for its new MK8 electric piano from everyone. Well, everyone who can afford one, that is.

The website makes it easy to customise your piano, with different colour/material options for the hood, bottom shell, front panel and preamp panel, which gives access to the features parametric EQ, independent drive, envelope control, wah, vari-pan with four waveshapes and audio rate modulation capabilities.

You can also decide whether or not you want built-in FX (compressor, chorus, phaser, delay) and a stand. The latter comes free if you pay for your order up front).

What you’ll quickly discover during the customisation process is that things can get very expensive, very quickly. So yes, you can have an FX-loaded MK8 with a smoked transparent hood, walnut bottom shell and stand, but - assuming you’re only going to pay a 20% deposit - this will set you back $12,640/£9,115.

There are cheaper ways to get a MK8 - you can have one for as ‘little’ as $9,450/£6,795 - but whichever way you spec/slice it, this is going to be an expensive purchase.

Is it worth it? That’s something only you can decide. Obviously, there are numerous ways for you to get the Rhodes sound in your studio - both in software and hardware - but that’s not the same as owning a real piano that (we hope) has that Rhodes magic. And there’s no denying that this thing would look great in your studio/living room.

If you do order, you might have a bit of a wait, as Rhodes says it can only make around 50 pianos a month. All specifications will be confirmed with customers before the build commences, and you’re entitled to a full refund until this point. 

Find out more on the Rhodes website.

Ben Rogerson
Deputy Editor

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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