Organ settings to "replace" other instruments?

[To B3]

Thinking of simplifying things and setup and using just my trusty 2000's Korg CX3 to do some dates with my trio when things get back to "normal" (keys / bass-vox / drums). The music is gritty soul/blues/funk with a little rock edge here and there. Any tips of registrations and approach to substitute the other main sounds that I use (clav, rhodes and wurly) and keep things interesting? Plan on bringing my wah and a little delay/echo pedal along for the ride, no leslie, just internal sim.

[Dave Bryce]

See if you can find an original Hammond manual. The one that came with my A100 had a whole section on exactly what you're looking for.

 

dB

[To B3]

Thanks for the input, Dave. I guess I know what you're talking about, the strings/oboe/brass presets, right? But I'm after really of settings that mimic better the other vintage/electromechanical sounds that I use: rhodes, clav, wurly, in funt... As I remember, those aren't on the manual or are they?

 

Anyway, with 578880000 3rd Perc/Normal/Slow I found that it works well for clav-y type grooves when playing on lower.mid registrations, just want some more alternatives to keep things interesting

[Dave Bryce]

No, you're right...it's basically acoustic instrument emulations in the book.

 

dB

[jpgxk3]

Hi, 2nd perc setting with 16' or 8' db with reverb and chorus or flanger will get you into some funky e-piano territory.

[Tom Williams]

Your best bet is to go for the groove rather than the sound.

 

Lots of key click and percussion may let you reproduce the mood of a Clav, but you ain't gonna get the envelope nor the high frequency component.

 

I second the 16' or 8' plus 2nd perc for substitute rhodes. Perhaps teensy bit -- level 1 or 2 max -- of highs to brighten it into Wurly territory.

 

I feel your pain -- in the 70s/80s my band often wanted piano out of my Farfisa drawbar organ. We found it easier for the guitarist to cover slow arpeggiated keyboard parts....

[Morrissey]

I recall the 2000s era CX3 has a preset voiced like a distorted Wurly, and had a name suggesting that's what it was. I recall it being decent sounding. Different enough from the standard organ sounds and close enough to an electric piano sound for me to think, "Hey, I can tell this is trying to sound like a Wurly."

[Ledbetter]

See if this link helpS

 

http://keyboardservice.com/Drawbars.asp

 

 

Or google 'drawbar settings.' Use your ears and add or subtract one drawbar at a time. Visit Hammond organ sites or fan sites. Good luck and have fun.

[To B3]

Thanks for the inputs, already experimenting. The fake rhodes tip is really nice. The goal is to create a more focused experience, expanding the limits of the instrument, taking the advantage that my bands don't do note-by-note covers, so the freedom is bigger.

[Morrissey]

Another thing I recall about the CX3 is that it had that experimental setting (EX?) where both sets of drawbars could be used to manipulate a single sound on the keys. I never messed with it much because I wanted the traditional B3 tone, but if you're looking to push the limits of the CX3, you might see where that EX mode takes you.

[AnotherScott]

Yes, the CX3 had that EX function that permitted drawbars to be tuned to additional drawbar pitches besides the usual nine, so it could get a whole bunch of other timbres. I suspect that was used to create the Wurly-ish tone you mentioned.

 

Back to the OP, I do remember "back in the day" using an organ registration for some Rhodes parts... it came closer than using the Baldwin Electropiano that was my piano (wow, the odds that that comes up twice the same week...). It was 8' full out, and I think 4' (not sure how much, it was a long time ago...)

 

Though according to https://soundgirls.org/the-fender-rhodes/ "the musical tone produced {on a Rhodes} from about middle C up consists mainly of pure sine waves at the fundamental and first two overtones" so to get that second overtone, adding some 2' as well might have been a good idea.

[MathOfInsects]

Though according to https://soundgirls.org/the-fender-rhodes/ "the musical tone produced {on a Rhodes} from about middle C up consists mainly of pure sine waves at the fundamental and first two overtones" so to get that second overtone, adding some 2' as well might have been a good idea.

 

2 - 2/3 would be the second overtone, right? (5th drawbar, and scaletone)

[Tom Williams]

Though according to https://soundgirls.org/the-fender-rhodes/ "the musical tone produced {on a Rhodes} from about middle C up consists mainly of pure sine waves at the fundamental and first two overtones" so to get that second overtone, adding some 2' as well might have been a good idea.

2 - 2/3 would be the second overtone, right? (5th drawbar, and scaletone)

Yeah -- 8', 4', 2-2/3; something like 00 8420 000, or 82 4000 000 at 16'. Too much of the mutation stop and you'll sound like a clarinet.

[AnotherScott]

ah yes, first overtone is octave, next is a 5th above that.

[To B3]

338888000 with 3rd perc normal and slow or stoped leslie (with a good amount of overdrive) sounds great for clav type riffs/grooves on tha bottom 2 1/2 octaves.

840000000 with 2nd perc soft and slow/stopped leslie for electric piano kind of sounds is also great as sugested.

 

All on the regular organ section, no EX. Gonna experiment more the EX later.

 

Loved the "experiment" so far, let's see soon with the band if they hold their own.

 

Thanks for the inputs everyone.