800008888. It is used a lot. In Squabbling and non-squabble situation.
Songs like Liitle Feat's Spanish Moon and a in Smashmouth's Walking On the Sun. No other registration sounds right when you need that sound. In these cases I don't consider it squabbling. In my mind squabbling is the playing technique and not the registration. Judging from past discussions I'm probably in the minority on this point but I'm still right.
80 0008 888. It is used a lot. In Squabbling and non-squabble situations.
Thank you! I LOVE this sound, but was never able to pinpoint the registration. I leave the perc on a lot, so that would be one reason.
Poster is wrong, this sound is fantastic!
BTW: I never noticed the B3 in Walking on the Sun, obviously heard the Vox, now I'll have to figure it out. Sounds like a few of the upper drawbars are a little lower, maybe 80 0008 855 or something. Fantastic song though.
We all love Hammond organs, but one of the few timbres I can't stomach can be heard in this clip at 1:38.
As everyone knows it is called squabble. Its 'happy'. A little bit like a corny 'ragtime' ambience. It is used, imo, as a 'changeup' to take the 'ear' away from the normal Hammond 888000000/percussion (Hammond is not a theater/theatre organ with a variety of sounds) and other common registrations not to wear out the listener so the when it goes back to the common registrations they sound good Some songs focus around it mainly like a 'Mac The Knife' . It IS cornball in my opinion though it depends who plays it. Though, imo, ragtime piano played well is not cornball but I do have musician friends who hate that too. Squabble does have a 'changup' purpose.
I like the sound in an ensemble context. It cuts through appropriately. I'm more of a fan when it's funkier. Generally the the part I don't prefer about the squabble is the technique - not a performance I like. But The sound is great.
Now, a leslie on Stop is a sound I dislike (especially for an extended time). But, I think I may be in the minority on that opinion.
As far as the sound on stop - a lot of that is according to the setting. For most Rock settings it might sound too dry, although it certainly works for Steve Winwood. For Jazz settings where a certain amount of (soundwise) precision is called for, using the chorale setting smears the sound too much. I remember hearing a few jazz recordings where "something doesn't sound right, there" and upon closer inspection it was that the Leslie was on chorale. But in actuality none of us are wrong and all of us are right as long as we don't insist that our opinion is the only correct one.
I love the squabble, but IMO you have to treat it like you would a party trick and never pull it out more than once a night, in one part of one song. Overdo it and it sounds like cheese.
I am learning to love the "stop" sound, but I am not yet skilled enough to make it work over long sections of a solo or song; I use it right now as a color in a much broader palette. But that moment of starkness can be really effective at the beginning of a solo that develops from there. I know others are much better at making it work on its own. Maybe by the time I am 80...
I am pretty active on the brake, but I notice I have two approaches. During a song, I am mostly leslie slow or even stop, with fast held in my pocket for big dynamic changes or expressive isolated phrases. When I solo I tend to reverse the equation, with more time spent on fast and slow being for beginnings and ends of phrases that I want to have greater definition.
Want to know when I use the pedals? Never. Big hole in my development. That one may have to wait for the next life.
In defense of the OP, there was a time many eons ago - before I did much listening to organ players, let alone played one myself - that I did not appreciate the squabble sound either. It can be a little jarring the first time you hear it.
[quote=JoJoB3]...and the example video you've chosen.
To be fair, I was checking out an XB-5, and I just happened to hear the sound. Iím sure a genuine tonewheel would have been a better example. [/quoe te]
You are a brave man to comment this way among this 1984 thought speak crowd. And you are correct, the clone Hammond, not to mention the way the demonstrator was playing the squabble... yes, I quite understand why you were turned off.
In the hands of an Erroll Garner on a real Hammond, that is another matter. But mainly kudos for your bravery.
In just quick playing around while live, I really am liking something like 00 8800 555 for pads in a rock setting, maybe a little 2' in there to give it some edge. It's also an extremely quick registration to construct on the fly. No perc, maybe some C3. Someday I'll fine tune it in a quieter setting, but it's quickly becoming one of my go-tos for background stuff.
Sadly, I still spend most of the night wide open, the band is so loud I feel like that's what I gotta do to cut through the mix.
A little off the beaten path which I picked up from Breaking Bad: https://www.youtube.com/watch?v=yxf1IFgPH5s
I know I'm a Hammond geek because that performance of "On a Clear Day" also stopped me in my tracks when I saw that episode, and a few other major events were also happening at that point in the show!
its when I listen to things like this that I start to think my NE2 is actually not adequate. That percussion and click is THICC, and the Nord 2 just don't do that.
And... I too am in the "not a fan of the squabble" club. Again, maybe its that I've been on a NE2 for a decade and it just doesn't do that sound well... but in this song, the Hammond sound on the intro is something I live for, the squabble solo is a bit offputting.