retrokeys

A puzzler for sure.. Obviously this is a lower keyboard bass set up but if it were just a bad drawbar, why not go to the the "B" bank which isn't set up for anything?. At least there are no drawbars out. Of course the Hammond could be so fried that that whole bank is out. Doubtful though. My guess is that this is some sort of hack known but to Goldings. Be interesting to give a close listen to a recording of that show.

Had an Electro 2 61 for years and more recently upgraded to the Electro 6 73 HP Happy to be " in the Red."

The Cluster

I had real love/hate thing going with Wurlies. Over the years I have owned 5 of them. I loved the action and the sound, although truth to tell I liked the Rhodes sound a little better. Still, the weight and that rubbery feeling action on the Rhodes were always deal breakers. I'd get a Wurly, love it and in the course of time the reeds would start to go. Complete PITA. So I'd soldier on and solder on but eventually get disgusted and let it go...a year or two later like the song says "right back in love again." I always wished that somebody would have made an EP with a Wurlitzer action and the Rhodes sound generating system. Today, of course digital EPs sort of let you do that. My Nord Electro6 HP is as close as I think it is ever going to get. Still, it sure is fun to play an original now and then...as long as I don't have to own it.

My two cents....I'm an old b3 guy so yes, I have a two manual xk5 and leslie 21 system but that's just me and I love it for my current band. If I were doing a multi keyboard gig and Hammond was just one of the voices, I'd go with those who suggest a controller and program like BX3. That way either component could be easily upgraded next time around.

How many keyboardists does it take to change a light bulb.? None. Keyboardists are not afraid to sit in the dark, in the corner.

Only Jimmy Smith because he changed everything.

One and everyone else to talk about how Emerson would have changed it.

No, Mr. Bond. I didn't expect you to die. RIP Sir Sean.

This hit painfully close to home. On Sept 24, midway through the first set of a rare outdoor gig, I had a stroke of my own. The effect was in speech coordination. Luckily, my playing was unaffected. My background singing, on the other hand, took a hit. Luckily through, thanks to swift medical intervention, I am expected to make a complete or very near complete recovery. This is not the case for 90 percent of stroke patients. I confess, I was never that much of a Keith Jarrett fan, but at this moment, I feel a bond. I wish him well and hope that this adversity might lead him on to some other means of expressing his creativity. At this time the world needs it. On the practical side. medicine has progressed. Please pay attention to your heart health and/or blood pressure. You can minimize the risk.

I'm not sure any sort of "certification" in performance is of much value. In the end you can either play or not. You either pass the audition or you don't. My advice would be to continue performing but seek certification in an allied field, music history, musicology or even something a bit further afield, like audio production (hey, worked for me ) The worst it can do is help to inform the performance. I do agree with the prevailing sentiment here. It is harmful and essentially useless to try and stifle creativity. As they say, you don't choose music. It chooses you. Good luck to this young lady.

The problem is what is "flagship?" I have an Hammond Suzuki XK5, which is arguably the top of the portable line but a long way from the B3p and even further from the "new B 3 or C 3." Similarly I have a Nord Electro 6 73 hp. I wanted a piano action but clearly this is not the Nord Grand, yet it has features not present there, Same issues with the stage . If flagship refers to price, no I don't buy flagship. If it means features I want, that's another question.

The whole question of "fakeness" is really interesting to me. As players we "hear" one thing; as audience members, another. I put the quotation marks in because as one plays, there is much more involved than just audio. We get involved in the instrument. Can't help it. I have an acoustic piano, a Baldwin spinet, and a 1959 Hammond C3 and in the past have owned and/or played Wulitzer and Rhodes and a Clavinet C. I currently have an XK5 and a Nord Electro 6. When I'm playing these various instruments I can tell the difference. Yet, if someone else plays them and I'm just listening. things get a bit more confusing. Mic all these instruments and put them through a PA, less distinction. Record, process and put in a mix and it gets very hard to tell. Don't get me wrong. For years, as numerous band mates could tell you, I have resisted playing horn or string parts on keyboards largely because such would take me away from keyboard parts. I too have said...if you want a sax part, hire a sax player. Yet, in my heart of hearts were I to be wrting and producing jingles again, I would love to have some of these programs. What might be interesting here is for a panel of real horn players be involved in a double blind test of technology versus real on recordings as observe the results....I've always enoyed the clonehwheel shoot outs. Time to expand the game.

From what I have read, it seems like a new case which includes the lower manual and allows the upper to slot in, like the Heritage system or the A3 system. The difference is that the cabinet is deeper so all the plug ins in the back of the upper unit, (leslie, power and pedal inputs) can be hidden by the solid back of the cabinet. Doesn't sound too portable, Seems like a way of selling more furniture quality instruments to those who can't quite afford the "new" B3 or C3

Electro 6 hasn't been out that long. I'd bet against a new Electro. I'd say a new Stage but yes, the Lead is a good candidate.

Electro 6 hasn't been out that long. I'd bet against a new Electro. I'd say a new Stage but yes, the Lead is a good candidate.

OK folks, I am about to commit heresy. Every day I am fortunate enough to be able to play a 1959 C-3 with 251 leslie. I love it. The old girl and I have gone through some times together. No doubt. I'll never sell. Ever. That said I also have an XK5 and leslie 21 system. All things considered, out on the gig I like the 5 better. Maybe it is the power of a 300+ watt leslle but I find the 5 more expressive through a wider variety of drawbar settings and the touch is indistinguishable to my stubby fingers. . I confess that some time I'd like to do what Mr. Alfredson has done and run it through a real old time tube leslie, 147 or 122 and see what I get. My hunch is, if I like it now I'll like it even better then. I am about convinced, were some of the tactile, visual, and yes, olfactory cues removed, a lot of clones would be indistinguishable from "the real thing." In the words of George Clinton... "Free your mind and your ass will follow."

Absolutely. Eternally thankful that music has been part of my life and that the keyboard has been the way to express it.

Whew.

Getting far too lenient here. Jump? Next thing you know he'll tell us he is using a Nord Lead on an X stand and running it through a Roland KC amp. Without eternal vigailance it can happen here.

Aretha Franklin

Couldn't say. I use a 21 system with mine. Have to have that moving air. If you want more conversation on the subject, there is an XK5 users facebook site. Good folks over there and useful info as well.

Couldn't say. I use a 21 system with mine. Have to have that moving air. If you want more conversation on the subject, there is an XK5 users facebook site. Good folks over there and useful info as well.

One of the neater things the XK5 does is to allow the 11 pin to employ a real leslie and the 1/4 inch to send the sim to FOH. Obviously this is not what you are looking for but you have options because it is switchable.. You can, for example disable the 1/4 out sim by using the bypass switch on the XK5 and send a dry signal to your vent with messing with an 11 pin. If you want to use the 11 pin because you want to use the onboard fast slow and stop, plugging the 11 pin in disables the built in hammond sim so I suppose you can do what you first described. if it were me, I'd keep it simple and just got 1/4 in to 1/4 in and use the vent speed controls..

Re: Garth Hudson and the Lowery. A few decades back I heard the story how Garth was asked how to be an original rock organist. He supposedly replied "Never own a Hammond B3 and never play a Jimmy Smith lick." Whether the story is accurate or not, his playing sure enforced the message.