What it is and what it was built for
An electro-mechanical piano designed by Ernst Zacharias and built by Hohner in West Germany. Intended for home use as a reed-based variant of the Cembalet.
How it works, in terms a player would use
Each key is a lever pivoted on a fulcrum with a return spring. Pressing it lifts a pad off a tuned spring-steel reed. The reed vibrates. A pick-up converts that vibration into an electrical signal.
What it does better than anything else
It delivers a sharp, harmonic-rich attack followed by a clean, dry sustain—more immediate and less resonant than a Clavinet, less percussive than a Rhodes, and entirely self-contained in the Pianet T.
What it does badly
It cannot sustain notes. Reeds damp immediately on release. It offers no velocity sensitivity. Leather pads wear, silicone pads degrade, suction pads lose grip. It has no built-in amplifier or speaker.
What people made with it
It appeared in 1960s pop, soul, and studio recordings—used alongside the Clavinet, Basset, Guitaret, and Cembalet—but the sources name no specific artists, songs, or sessions.
Who should use it, and who should not
A player who values tactile immediacy, portability, and a distinct plucked-reed timbre—and who accepts mechanical fragility and zero sustain. Not for gigging keyboardists needing consistency or expressive control.
Is it worth your time
Yes—if you need a compact, immediate electro-mechanical tone with strong attack and no power supply. No—if you need sustain, dynamic range, or reliability beyond occasional use.
