retrokeys

My money says it IS a Hammond but for some reason in a custom cabinet. I know of no other organ that sounded like that and especially one with draw bars, which I was always led to believe, were sort of a proprietary technology until Hammond went broke in the 1970's

Since she has a J.D. I suppose it would be proper for us keyboard players to say ..."We are with you Dr. Wu"

The split tubing you can get in the auto store for engine wiring harness works well, In my x stand days I used it to consolidate the cables and then strapped the bundles to the stand legs with velcro straps. Made things neater looking and easy to disassemble for loadout.

Some of you people deserve this...What is the difference between Dubai and Abu Dhabi? People in Dubai don't like the Flintstones.. People in Abu Dhabi do.

In my hometown in the 1970s when I earned the majority of cash from gigs ( the rest was a grad school assistantship) I was sort of sponsored. My favorite music store would let me take out the latest Korgs. It was fun but I have to admit that in those days I thought the instrument was something of a gimmick. Most resembled, to my ear at least, a sort of tuned police siren or a machine for making somewhat interesting "fweep fweep" noises. Of course these were monophonic and therefore seemingly limited to a keyboard player at the time. Point is that the synths available to most of us were a a cut below what the Emersons and Wakemans got and were nowhere near what was available only a few years later.

OK curmudgeonly old guy here.. but why would anyone do this? The audience, for the most part doesn't care if you are playing real Hammond or your dad's desk. Those in the know can spot a fake so why not just go with the gear you've got and be proud of it. I feel the same way about acoustic piano shells Seriously what's the appeal?

Primarily comfort with the instrument. When I go to play I want to play. Not program or adapt. If I can't have my trusty vintage Hammond I want something that is laid out the same and feels like the original as far as that is possible. If I can't have a real acoustic piano ,Rhodes, Wurly or Clavinet I, at least, want something with some hammer action. An old school creature of habit? Guilty as charged.

I don't know why this is true but it is. Years ago I had an Electro 2. I got it primarily because it was reliable. The sounds were certainly serviceable but nothing to write home about. Still, on gigs, other musicians were commenting on what a great piano sound I was getting. The amp was (and is) the stationary speaker of a Leslie 21 system. All I could figure was that somehow, Nord had done something to these sounds so that they worked better when some distance was added. I have since updated to an Electro 6 and while I think the sounds are much better, no one seems to be drawing attention to them. Maybe every other brand has upped its game? I don't know but the Piano Man's observation is right on the money.

Sorry about that.

Welcome and now you have a right to gripe about politics like the rest of us do.

I think it all has to do with young folks and accessibility, Consider, when rock an roll first started, sometimes called "rockabilly," it was basic. Small ensembles, simple chord patterns, and the like. Doowop required an understanding of harmony (gained at church) and a good reverb, Both were easy to come by. By the early 60's. however, production had come in. Your basic neighborhood kids would have a tough time recreating "wall of sound" studio effects and one of a kind voices like Frankie Valli or Ronnie Spector. The British invasion returned basic accessible music. A lot of us got started because of the Beatles or the Stones and thought "hey, I can do that." By the end of the decade though, production was back in a big way, The studio was being used as an instrument itself. Even the Beatles couldn't produce live what was on the albums. So psychedelia and home made hippie sounds. Once again, though. things got polished and the kids on the block were shut out. By the end of the 70's corporate rock pretty much guaranteed that to do pop you had better be able to play and sing at a high level. The result Punk. Back to rudimentary skills. You didn't have to know that many chords in some cases it sounded like knowing how to tune was optional. Once again things got polished and kids found it difficult to make the music they were hearing. Hence, rap. Two turntables and a microphone. No players needed...singers either. Lyrics were all that was required. The question. it seems to me ,is what is the next accessible form. It can't get much simpler than rap but it doesn't have to. Now everyone has a computer. Easy to make your own beats of loops and create electronic dance music among other styles. It will be interesting to see what's next..

I find the best way to handle this request/demand is to smile sweetly and say "I'll try." Then is select the worst emulation I can find on the keyboard making sure the cheese factor is high, That usually puts paid to the request and all further ones. I've worked with horn bands. I love 'em and wish there were more around but like a lot of you here. I am not a horn player.

I heard tell that his stage rig had 16 Leslie 900's. In those days the most powerful one that they made. I then read somewhere that he decided to switch to electric piano because the organ was making him deaf??!!! Never got to see him ;live but about wore the records out

Steve Winwood

Expensive? Yes, I have some money in it but everything there was meant to be carried and played out,unlike my C3 and leslie which would be happier in church or at home.