Steve Nathan

I loved this record when it came out and still listen to it often. Willie Weeks! I couldn't believe it a few years later when I walked into Soundstage to cut a record for Tony Brown and there sat Willie, in the flesh!! We became friends and co-workers for a long while after and I still feel like the luckiest piano player on the planet for having gotten to groove with him so many times. Come to think of it, I probably am the luckiest keyboard player on the planet

An old Fav from the New Yorker.

Testing one two

I had one of these that I thought was pretty cool at the time. http://www.guitare-village.com/occasion/_images/2013/20131119/11191.jpg

http://3.bp.blogspot.com/-Nom1xLb27NY/TzNXTQptUaI/AAAAAAAAFt8/xNNEZyXJ8zQ/s1600/tomei_purple.jpg

Love these Ken. Made me think of Jack Spencer. Do you know his work? http://www.jackspencer.com/

Getting in line to buy the Kontakt Errol Garner

Theo, I just finished a post in the "drummer wants to learn keys" thread that would fit here nicely. It all depends on how deeply you want to go. Serious mastery takes years, but a little basic familiarity can be accomplished in much less time. As a session guy, my job is often described as "knowing how to fake my way in all genres" I don't get many Latin calls, but I will admit to spending some time listening and watching the results of a Youtube search for "Montuno Piano". A recent session for an artist (last named Gonzales, with a producer named Garcia ), came out pretty well. Thankfully we had Nir Z on drums, who plays this stuff flawlessly authentic (from his years in NY City), but I managed to leave them quite happy too. I know I could never take a gig in a real Salsa band, but it is possible to pick up some flavor, and it all contributes to making you a more rounded musician.

Perhaps the same method that helped create the original is the way to go http://munsell.com/wp-content/uploads/2013/04/1_pills-in-hand.jpg

It's pretty cool. (Full disclosure: I Beta test for PSP) They nailed the Hammond Chorus and Vibratos, but what I really like is that you can get a bunch of "non-traditional" effects with this thing too. Love that they've made the lever capable of being set anywhere "in the middle" (like L'otary) too.

To be honest, I've had mixed feelings about the Tungs I've tried. They were certainly big, rich and full, which perhaps makes sense for a Jazz player or church, but I'm completely hooked on the way the Winged Cs break up. They get such glorious crunch, but never smear the notes together. I can get what I like to call "the sound of wood chips flying off the Leslie" and still distinguish every note I am curious about JJs though. I recently put JJ 6L6s in my 60 Fender Concert and they sound damn good!

You understand correctly. I haven't changed them in either of my Leslies since I re-tubed maybe 20 years ago. At the time, I asked my guy at New Sensor for a recommendation and went with his choice. The 6550s I've tried most everything at one time or another until I got to the Winged Cs. I've stayed with them since, and bought up a few pairs to keep around just in case.

As stated above (and imho), the 12 and the OC3 aren't that critical. I've been very happy with the service and selection from http://www.valvequeen.com/ I bought her last Winged C SED 6550s which are my favorite Leslie tubes of all time.

Cool stuff. I think I spotted Fredo Corleone in the "90 Miles South" video

Thanks all. I've been trying to remember where those came from. New Perc on old audio. Best guess is I made 'em on a Triton. Not the first time I've wished I could get back to a sound with no memory of how I did it. There's this old Mink Deville record............

Well, I threw another tune up on Soundcloud. I'm still no Jazzer, but I don't think anyone will deem this another Country tune in need of lyrics Apologies for any remaining (unintended) distortion. WetPrance

Nice Al! Tasty. You've got a fan here. And I like your sax player too. Made me think of Paul Desmond a little.

For organ, the Vent and the Burn sound much better than the rest to my ears. Personally I prefer the Burn, but I'm definitely in the minority around here. On guitar, I'd give the edge to the Strymon.

Thanks Al. "Waltz for Karen" is pretty "dang" good too. I especially like the chord in the intro (at 26 seconds) I'm guessing at 279 posts, you weren't around for my thread entry into the"Hall of Shame". What Chord is This?

Thanks for the positive (and the tongue in cheek) responses. I may one day consider stripping the melody instruments and playing for one or two of my usual lyric co-writers, but for now, I'm just having fun, while playing with some plugs. In fact, I did some tweaking with PSP's new E27 EQ (which is frakin' awesome), and made a brighter, punchier ruff. I know I praise the PSP stuff a lot, and I always make sure to note the ones I have had a hand in developing or testing. In the case of the E27, I was not involved and did no Beta Testing for them on it, but I will praise the heck out of it. Brighter Ruff

And now for something completely different Definitely not Jazz, and no wicked chops displays or novel chord progressions. I'm doing more Beta testing for a plug-ins company (can't say what yet) and started listening to 3 new ones on various short bits. I started really liking the sound I was getting with one on a little four bar pattern, and I liked what I was getting with another on a "slide" guitar sound against it. Next thing I know, I've strung more stuff together and having a fair amount of fun. Pretty soon I realized a drum track and a "solo" on something and I'd have something I liked, even though I'd never be able to do anything with it (not like I could add lyrics and have a Country song ) So I thought before I toss it into the pile with "the others", I might as well let my friends on KC hear it. Clonk

I hardly ever wander in here (you jazzer's are too intimidating ) But every time I do, I'm blown away by the talent that hangs out here. Doug Robinson, Dave Ferris and always Linwood. Really really nice work. (Where's that "Hats Off" emoji when I need it).

Dragged, kicking and screaming into the 21st century I've been playing with an old simple template based web site creator (should be called web sites for dummies ). I ended up having some fun and decided to leave it up. Seemed appropriate to "introduce" myself in this thread.

Murph has been my tech for several years now as soon as he got the nod of approval from (imho) the best there ever was, Tom Bromfield. Tom is a mad (and famously hygienically challenged) genius. However, I couldn't be happier with Murph. His work is equally excellent. He knows his sh*t inside and out, is fair and honest and actually fun to hang around. I recommend him to anyone with a sick Hammond within 500 miles of here. BTW: Cartage here is provided for musicians by a number of companies who move, set up and tear down the musician's gear to sessions, gigs etc. Each musician chooses which company themselves, and the bills go to the record companies, publishers, etc. It's a wonderful system, which enabled me to build a collection of gear so large it was dubbed "Mount Nathan" I've played many of Murph's fine Hammonds, but I discovered quickly when i moved here 25 years ago that many of the studios had their own organs, and few of them sounded worthy to my ears. That's why my cartage company carries my personal one to nearly every session I do.

Yes, it is safe to assume Personally, I have no problem with the 32 bit version of VB3 (using 32 lives). Once I turn the VB3 sim off, I can get satisfied very quickly with the sound I get adding L'otary. If you dig back in this thread, you'll read of how it saved my butt on a session, and performed like a champ. I'm still using the real things most days, but occasionally I'm on a "no cartage" session, and it's good to have this trick in my bag. BTW: When PSP asked for my help in the early development, I sent them "dry" files of VB3 derived audio to use for testing. While the GSI sim internal to VB3 is no longer "The Shizzel", the tones with the rotary effect switched off, sound more like real straight/direct Hammond tones than anything made by Hammond/Suzuki and most of the other clome makers (until you spend the big bucks).