Legatoboy

My friend who buys and sells Leslie's collects 31 H's.... the market is small for collectors he said but he told me fairly recently he sold one of his! Field Coil Woofer in the originals to electrify the magnet ... early 1940's tech! 6LSS's power tubes in there go to crunch quickly.... quicker than 6550's ... Nice to see, nice unit - good luck!

I really enjoyed 'I Want To Be a Sideman' slowtravel.... Enjoyed reading your history w/him Dave!

I'm glad he's back home and with his own music full time again and with the other remaining members of LF and the rest of the band and crew, although I love the work he's done from very early on with the Doobies too...

What an amazing musical story his life was .....RIP Pat.

I bemoaned this many many years ago on the Forum after having and gigging an RD600 which was not a bad axe, and going to the RD700 and SRX, even the modules! I could not EQ Roland stage pianos for stage use after that for the life of me...home and recording use it was better but after much anguish and $... I gave up on the Roland piano sound for live use at that juncture.

Very sad....such a good guy and talent

Bought mine from a forumite, I needed a way to record at night or during the day w/o using to much volume w/ my B3/122 RV and just monitor w/ headphones... got a Trek II OBL-2 for the direct out to go along with it and also a Bruce Ashby Leslie Speed Switch for the rail..you have to program them with the small pad switches inside the Switch for all the units it will drive, which is many ... it has been a wonderful year recording with them. My COVID Hammond project. Never had a Vent...so no comparisons from me w/ that but out of all the Leslie Sim's I've owned through the years... and I had DLS122 plus many others ... I like the Burn's stereo image, speed switch and overall sound and o/d the best compared to my older sims of course... I find it very smooth slow to fast sonically...hard to get that sound exactly with micing ....at least for me ... the main driver in the inception for all this beside the Vol./recording issue was to have Leslie 'Stop' also...I wanted to spend time w/ Leslie Stop and my playing....watching Tony Monaco's live internet show through COVID made me realize I wanted to investigate 'stop' much more... I've really been focusing on piano for many many years, so this was a nice way back to my Hammond roots and a way to get back into it ...

I just have one question - Who's Al?, doesn't he have a last name... . I think 'Math' got it right! For big $ projects like film and TV i think this will propagate to some degree . Humans 'invented' music and I think humans, at least some, will always find a way to produce it themselves, it's almost a human 'fetish' ... Like in a college level Economics book - one the introductions states - Humans have a 'fetish' for gold... I thought that was sort of interesting and sort of true..... same here! people still paint by hand with a brush ... but there is photography.

Gear is a very important tool as a modern keyboard player/artist and essential. But working one's musicality and skills is ultimately 'more' important .... never ever forget that fact.

sounds like a modern Bartok Mikrokosmos of sorts.... collections of musical ideas in tangent...I'd like to check it out....just ordered one ...

RMI - they could sound half way decent for the 70's with a lot of effects and run through the FOH.... Larry McGowan (RIP) from 'Rat Race Choir' here in the NE did amazing things with an RMI electric and classic rock material from Elton John to Thick as a Brick/Passion Play etc.. with one for years... but RRC had a very active/capable soundman who would pull effects on each tune with the RMI and all the other instruments for the band, sometime multiple effects setting for any instrument in one tune with a live active mix..Rat Race ran their PA stereo front to rear with 4 A7 columns. .Alan was his name (soundman), a Bell Labs graduate ... he would often use 'slap back' echo, straight echo and a bit of verb on it...helped a lot, wrapped in effects and placed in the mix correctly it could sound like a piano 'in a mix' with a capable player.. and Larry was more than a capable player.. he was down right Brilliant... I gigged one for a long time on top of a Hammond C3...but you weren't going to get anything near a piano response out of it... sonically or touch wise... as someone noted, it was basically Italian combo organ tech..but better than lugging a Hapinstill Stage piano and worrying about tuning in those days and the bulk and weight...well for me at least. Hauling the C3 and a 122 was quite enough for the band and myself...so there was a good reason to use an RMI in the hayday..Winwood pulls off a nice solo with one on the 'Traffic' tune 'Empty Pages' ... they could be groovy if you let them ....mine was a darker blue... I think the early ones were bright blue like the one S.Winwood used in the Hyde Park video and Chris Stainton is using w/ Joe Cocker above as a stage prop...Winwood had that silver jet on top of his in the Hyde Park Blind Faith video... [video:youtube] .

I'm very selective now.... I have-not gigged out in a long long time (4 years) and still working a day gig but will retire very soon (year or so).... I am going to be very selective about music projects involving other folks moving forward I have decided .. also in regard to gigging out or just session/projects... and no more consistent late late nights for this old war horse.. would have to be something very special. See what happens in the next year or so...musically I cannot play in less than ideal projects that are in the end really not good for me on a number levels..I have really enjoyed working and recording at home over the past year I must say....w/o the need to drive to work. For lunch break now I often play/practice/check out music during the work day as relief my systems analysis/ lead developer duties for Voxx/Klipsch.... a harbinger of full retirement... and if I do play out... no more big rigs... though I do love them..OA in my left knee has limited my ability to haul large amounts of gear...like my road-ready Leslie 145 for large gigs or even a moderate single or double tier rig w/amplification w/o possibly the need for some assistance ... I find one of the main pluses of all this is that I select the music I want to work on ....I'm really enjoying that aspect .... on the down side is the jones to play with a real rhythm section, it does help a certain chop and fulfills something .... but my solo playing is better... everything in life is really a trade off in terms of where you put your energy... . I left the last 3 projects I was in.. for a number of reasons and have settled into my new position on things and am pretty comfortable with it ... as long as I keep working at home... I'm fine!

Legatoboy,I think you and I trod a lot of the same ground around the same time. The Stanhope House was a regular stop for the band I was with 13 to 17 years ago. Wasn"t it you which whom I spoke about being booked by Creative Talent Associates in the early seventies or was that someone else here? Yes PG it was, Kevin Brenner the whole 9 yards with Creative Talent Assoc. in the 70's... the workshops, etc. We played the 4 'Fore and Aft' clubs a lot through them among others up into Vermont and other points in the North East... the Stanhope House gigs in the earlier 2000's were with the Kerry Kearney Band, we had our own management... Kerry was in Marty Balin's band for along time (5+ years) and 'Starship'(1 tour).. SH is a nice room... not always full, but when it was they'd get a good crowd from over in Pennsylvania from the Water Gap...I enjoyed playing there, a bit of a hike from Queens or LI (close to 2 hours)..but very used to it... my family had a vacation home in Mt Pocono and I've spent many summers in the woods of the PA/Poconos since I was a kid, started going there in 1960. Sort of our family retreat that section of PA/NJ ....really good memories all around What was the name of your band PA? .

I ran into Bobby at gig I was playing in NJ at the ;Stanhope House'..that club was part of the original Chitlin Circuit... about 13 years ago... he toured then with his then wife as a duo they were playing Sat. we were there for Fri. night's show. ... my wife and I were just sitting by the door in the lobby after setup waiting on soundcheck and he and his wife just walked in the door to check out the venue before hitting their hotel room ... we just started talking they thought we were club management or something .... I asked him if he wanted to sit in with the band and use my rig... I knew the band would be into it...but they had just drivin in from Texas on the last leg of there commute had been on the road for 11+ hours he said and they were shot...easy-peasy to talk to sort of person ... easy going guy with a great southern charm about him... tattooed head to toe, his wife also. I had heard those intimate shows they put on were pretty good. Some folks told us after he had played the Bottom Line not long after that they had a pretty good show as a duo then ...

I actually use a 350 as a practice, very small gig amp....I also offer it to bass players to use for rehearsals at my place and they roll off the treble ... but I replaced the 12 " with a better speaker. I forgot which one right now but I can recall and take a look. ... that helped a bit.. I took the old Roland 12 inch 'Cheese Cone' speaker out and I put in a slow-cooker bag inside the "cheese cone" and use it to serve hot Con Queso out of for band parties and music gatherings with a big side of Black Corn Chips... they guys seem to like the vibe..and the sound of the updated 350 for rehearsals ...

Thanks Joe!

I say the Hammond SK Pro if you can abide the piano/action especially to up the organ ante....but I haven't played one. that or the YC... the organ on the YC is just not as good as the SK Pro's. The Rhodes on the SK sounded useable .. I'd like to add the Kurzweils but the KB3 organ is just Ok ... well those are my thoughts. I thought the YC organ sounded thin in the demos... I suppose you could beef it up, I'm sure... but I think the tones themselves for what ever reason are just thinner than the SK's ....

RIP....

Make sure the lower belt it tighten enough.... there is the groove and the lower thumb screw... make sure it's getting enough grab between the pulley and the capstan. .. not to much though. As Matt said, the lower belt tension..sounds like that to me.

'Light My Fire' - long version also...some of it was wrong, the larger chunk was right....had stopped music lessons a few years earlier. That and 'Puff the Magic Dragon' on trumpet were my big hits prior to the age of 15 and 'Lady of Spain' (but I had the music for that one).

great stuff.... thank you

I gigged the exact same rig for years.... .adjust the Bass, Mid. Treble on the Patch Level.... that can be adjusted and saved on each patch... also, those mics in the KBR tended to eliminate the midrange and make the overall sound a bit anemic....I know it's very nice and easy to get the output of the KBR to the FOH sound board like that, and I did do that most of the time.... but try mic's in the front of the amp ( in the middle of the 10's) and one in the rotor like a real Leslie.... this way the soundman might have more flexibility in crafting the sound.... also there is a setting in each patch to run the patch Hot or a bit Cooler.... I can't remember the title of the parameter off hand now.... that also effects it's sound signature quite a bit also, I think it's in the Leslie Parameters in each patch ....open the manual and look at all the patch parms to find that, ...experiment with all that and save to a new patch until to you get it the sound the way you like ....make sure you have the leslie Simm totally off also.... not on Leslie 'Stop', you probably know that though.

Just playing with a playalong, a good one though..... I had to figure out what I wanted to do with this track, took a while, 2 and half days playing different things with it, this was the 1st solid result...Brown's bass playing is so sick and good.. how I unwind during COVID time. 'Don't Count On Me' [video:youtube]

RIP - 'Around Midnight' was a pretty good flick ...I have it on VHS