bourniplus

One powered monitor with an 8" speaker would be my choice. If you don't want to pay for a QSC, look for those by Electro-Voice or Behringer. Others will surely have other companies to recommend. I have an EV with an 8" for when I don't want to carry my other EV that has a 12". I think it would have plenty of bass and volume if the drummer and guitarist are respectful.

Hi, I have an old JC-77 and I love it, I use it mostly with my Rhodes. I also have two tube amps in a similar size (Fender Princeton Reverb and Peavey Classic 30). If I had to have only one I guess it would have to be a tube amp, but still the JC has its place. I'm sure it sounds great with the CP80. As you know, that stereo chorus is simply amazing, turn it on and you're instantly in the 80's. I replaced the original reverb tank in mine with one that gives a longer reverb, huge improvement. I don't know about the newer ones. It has always been pretty much trouble-free, although last year I had an intermittent noise problem. I opened it and found a small component (looked like a heat sink) that was slightly loose, I screwed it back to the circuit board and that solved it. I've found the schematics for it and downloaded it, if anyone needs it. (Somehow it was a bit hard to find through google.)

While on the topic, listen to this version of Mr. Clean by Groove Holmes and Weldon Irvine on Rhodes: https://youtu.be/nGXgVcnvWYI That Bb is so out of tune, I'm guessing it was intentional. None of my Rhodes ever needed any significant tuning, pitch-wise. The answer the OP's question, I'd say Spain by Chick Corea on Light as a feather. If he meant a Rhodes-ONLY song, I can't think of any that had some kind of commercial success.

I take out a tonewheel Hammond on gigs many times in a year. (Not that I'm pretending to be mentally sane.) To me it's not about how much the gig pays, it's more like a gift to myself. Many others here will also tell you that most often, instead of a chop, the solution is the roll-or-karis. I find it easier to roll the organ than to haul a 35 lbs keyboard. Flights of stairs are another story of course. To the OP, my vote goes to keeping the A100, and keep searching for a vintage Leslie.

Thanks for sharing!

Tar and feather! Tar and feather!! I've also comitted heresy last week: I gigged my M100 without a Leslie, going straight in a 12" speaker. Actually it sounded great and was easy to mic. (No need to mic top and bottom, and no upper horn aiming in random direction in stop mode.) With the "magic" switch I added (which connects different points in the line box) , the scanner vibrato can sound pretty Leslie-like. I also had the fastest setup of the whole band!

Hi Paul, if, as you say, you'd rather spend time on your Iphone and Ipad instead of making music and it makes you happy, then why not? However it seems that somehow you still have an interest in making music. You don't need any "instrument" to make music. Do you sing? As in, if your hear a note, can you sing that same note? Just a thought, maybe you could join a choir?

It would seem that JSB had access to three 2-2/3' stops on the Thomaskirke organ of 1722: http://www.bach-cantatas.com/Topics/Bach-Organ.htm I don't know when mutation stops became common, but some of the French organ litterature of the 17th century specifically asks for them. I would guess that the 2-2/3' stops started to appear around the same time as the 2' ones! Last year while I was in Italy (doesn't that sound good!) I had the opportunity to try the old organ in Santa Maria in Vallicella church in Rome. I'm pretty sure it's from the 17th century, is mostly original with a historically conscious restoration. It has a 2-2/3' stop. It's still fully functionnal and can even be pumped by hand even though it has an electric blower. If I only knew how, I'd post pictures of it, and especially the single manual which has both D#/Eb, and G#/Ab! (yes, 14 keys per octave!)

Great! Just a thought, following on what I wrote three years ago, you might try playing it in a one-bar pattern: R R L R - R L R R - L R R L - R R L (and a 16th-note rest) And in a two-bar pattern: R R L R - R L R R - L R R L - R R L R - R L R R - L R R L - R R L R - R L (and an 8th-note rest) Maybe along a click that gives an accent every four beats, or an actual drum beat, as slow as it needs to be.

Great!

According to my owner's manual, I guess you can't. It says the MIDI channel is set for the whole program. (That's how they call each combination of 2 digital parts + analog + drums.) I remember seeing somewhere online a list of all the MIDI messages in details so maybe there's a workaround.

While we're sharing our mistakes, a few months ago I did a gig with a "karaoke band" where the guests sign up many weeks in advance. We would only rehearse the trickiest songs before the gig, without the singers of course. So, this female guest comes on stage to sing her song, some kind of 80's power pop ballad that starts with a piano/vocal intro. This might be the big moment of her life, who knows. There was some ambiguity about the key between B flat or B (original? live? chart? requested by singer? facebook conversation?...). Among the band we settle for B. Somehow I have this huge brain fart and start the piano intro in B FLAT. By the time I figure out what's happening and the singer has come in, I try to tell the guitar player and bassist at the other end of the stage that I'M IN B FLAT, but they're staring at their charts. When the rest of the band joined in like a ton of brick, with loud distorted guitar and all, in B... oh man... that did not sound good. It took a few painful bars to settle on a key...

Hi, as far as I know, there's only one way, and it's forward. Yes, what happened sucks, but what can you do to make sure it doesn't happen again? That's what matters. If you can't sleep and can't think of anything else... BREATHE... slowly and deeply. Really. As long as it takes. Others will probably come along with more keyboard-oriented suggestions. I've been gigging for almost 20 years and have triggered the totally wrong patch a few times. Now these events are just funny stories. Good luck, Martin

@samuelblupowitz: If you have an interest in Hammonds but don't own one yet, I agree with the others, go grab it! I wouldn't trade my A100 for a B3. The tube reverb is awesome. Always room for one more Hammond! (I just got my fifth... and yes, I have a very understanding wife.)

Well... like waygetter, I also just hate it and try to avoid it like the plague. The only times I've seen it sound "ok" was when the keyboard player used a breath controller. If it fits in your budget, a board that has this capability might be an option?

Yeah seeing that pedalboard hurts my brain. I'm guessing someone took it apart and put it back together in a random fashion.

The units listed above should all do the job nicely. Also, the old POD's can be found for very cheap and also work well. I have one that I sometimes use with my Rhodes. As far as I'm concerned, all of these sound pretty similar to one another. If you're a tone snob, deep down you know that you'll end up buying individual pedals later anyways!

Speakeasy's pedal preamp was supposedly modelled after the AO-28, however when I compared running through mine vs. the phono input of an AO-28 or even an AO-29, I could tell a difference and prefered the Hammonds. For some time I actually used an AO-29 housed in a wooden case for gigging, along with another pedal for speed switching -even though I owned the Speakeasy.

Thanks for sharing! I had seen the Neo-Bechstein listed in Simon's Hall of Electric Pianos, but couldn't find much info last time I checked. It's interesting to see that it's single-strung in the bass and high treble, and double-strung in the rest.

Dr88, this trick is very feasible on a clone. As long as it's a fast action. (I wouldn't be inspired to play those rhythmic chords on a weighted piano-type action.) Even better if it triggers high and not at the bottom of the key travel. It also sounds great on Clavinet or other simple, fast action keyboards. You could start by playing the same chord an octave apart. If it sounds too full in the left hand, just drop one of the notes. Bfields, regarding the order in which the harmonics trigger, on my four Hammonds no two notes are exactly the same although there are certain patterns. (As a side note, about a year ago in a thread on this topic, I threw around the idea that a clone with three -assignable-contacts per key would be enough to realistically emulate the nine contacts for the most usual drawbar settings. And now, lo and behold, the XK5 with its three virtual contacts. (Where's the tinfoil hat emoticon?!))

As Funkkeystuff said, the key is the "3 against 4". That is, you play chords on sixteenth notes but in groups of 3: RIGHT-RIGHT-LEFT and keep this going... eventually the pattern will repeat every third bar! The "lowered chord" is a nice trick as well but it's not in the original video you posted. And as Sven said, the multi-contact thing will affect how this sounds, especially the left-hand slap.

Thanks for the answers. One more thing: while I thought the organ engine sounded good, my impression about the overdrive was that it was close to unusable. Can it be improved somehow?

Thanks. I see you can change the leslie speed in many ways, but can you actually disable the leslie amp sim? Even in stop mode there must be a tube amp sim of some kind. When going to a real Leslie this should be bypassed. Also another question: in EP mode, can the drawbars's position be 'locked' so that you don't accidentally edit the envelope?

Hey guys, I just tried this board for the first time and was pleasantly surprised. I have a few questions, sorry if they have been answered in this thread. Can you disable the Leslie sim completely? Not just stop the rotors, but disable the amp sim as well? Do I understand correctly that you have to go into a menu to select Perc 2nd/3rd, or V/C 1,2,3? thanks

In the misheard lyrics category: the 8 year-old French-speaking kid that I was thought Stevie Wonder sang "À Jessica, to say I love you" (means "to Jessica"...) I figured he was trying to reach her on the phone and was leaving a message on her answering machine.