BluesB3

If you had to choose an A100 series for gigging, which one would it be? The A102 is immediately eliminated due to the fragile legs. A143 for the same reason. Lots of A100's around but is the legless design more tippy on the Roll r Kari's than other models? The A105 has a sturdy base but is it any lighter with the speakers removed than a C3? I'm leaning toward the A101 or A122 for the fact that the legs are tied to the cabinet base. What say you?

I checked the Amphenol specs and these connectors are rated for 200V and 20 amps so they should be good for Leslies. Another possibility is the Powercon system. Booker Labs are using these on their Sidecar product.

Like many of you, I am contemplating selling a couple of my keyboards and streamlining my gig rig. I want something that's more ergonomic on a par with a Hammond console. I went to Reverb and filled out an ad just to see what the process was like. It seemed very easy. What I didn't see, since I did not initiate the ad, was what the cost or commission would be. If anybody has a handle on the ad cost or commission at Reverb, I'd love to hear about your experiences. If you're asking why don't I post in the Classifieds, I didn't think any of our astute members would be interested in an OB3 squared and an Electro3-61. Also as I was contemplating this, I wondered what is the average cost and most reliable shipper for shipping a medium weight Hammond clone would be? I have the original factory shipping boxes for both and I thought I'd double box with some crumpled paper or foam around the OE box. Thanks in advance for any advice you may offer.

If you were good enough for Ray Charles... "you were special no doubt".

Old TV station trick. Mirror in the lighting grid so you can shoot that shot with a floor camera. We used to do that for cooking shows to show the counter and stovetop.

The 200A solved this. For the 200, there's a hum shield you can get that sits above the pickups and hammers. Easy to install and it works. ð Try the Warneck 200A amp if you really want "studio" quiet.

Try this: http://www.barbetta.com/html/Support/support.html

It varies a lot by geographic area, but this is a little more than I would pay. No percussion, likely ratchet drawbars since it's stock looking, the 21H looks nice but would need a two speed conversion of some sort, cosmetics only fair. For $5000-6000 you could likely find a pretty well maintained B3. I might be tempted to take a chance at $3K if I could play it and look inside.

I heard John Sebastian playing one 1968 and ordered a Rock-Si-Chord 200. I'm not much of a piano player so the action didn't bother me. It was lighter than a Wurlie but didn't sound as sweet. I was frightened at the thought of two oscillators to go out of tune for every note but I treated it as carefully as I could and it served me well playing juke joints for a couple of years. I can't remember who I sold it to though. I don't miss it or my Combo Compact. Zero nostalgia there.

I've been rocking a 2004 V8 4Runner since new and it has literally been the lowest maintenance vehicle I've ever owned. Local mpg is around 15-16. Much better on the interstate. It did a great job of holding a pro video package and lights back when I had to work for a living and it can haul a Leslie 145 standing straight up and a couple of keyboards, stands, and PA stuff. 112K isn't much for a 4R. Mine has 145K and that's way less than its cousins which usually rack up over 200K. Here in NW Arkansas 4th Gen 4Runners (2003-2009) bring anywhere from $4500-8500 depending on mileage and conditions. Stay away from the problematic X-REAS suspension. Good idea in theory, bad idea in execution. The Lexus GX460 is mechanically similar with more upscale trappings. The important thing (to me at least) is a verifiable maintenance history. Make sure oil changes have been done at 5000-7500K and cam belts or chains done around 100K. When doing the cam belts/chains it is customary to do water pumps and tensioner/idlers as a precautionary measure while you have the front of the engine accessible. Rust is a deal breaker for me but YMMV depending on the climate where you live. FWIW the 4R actually has a truck style frame and the Highlander has a more car-like unibody. It may be a non issue for your mission but I used to take my 4R up in the Sierras to camp and I liked the ground clearance and sturdiness of the truck frame. I like the V8 but that's just me. I'm a car guy. PM me if you have any specific questions.

Did I miss something? Is the KBR3D XLR'd out to the PA? If so the kobitone rotary mics aren't the best thing in the world. I have installed 2 in my 145 for emergency backup. I think the most expensive Kobitone is less than 5 bucks. Is the KBR mic'ed with 57's or something? Maybe that would help the sound. Also it might not hurt to elevate that squatty cabinet to get it up off the floor (and carpet?) if you're not mic'ing it at all. Cphollis has made a good point too. Think of your drawbars not like preset sound patches but more like an EQ you can shape to the room acoustics or the other sonic elements of your band. One thing I hate about my Nord with the LED "drawbars" (not!) is they aren't tactile enough and I get lazy about shaping them when playing. Not a problem on a real Hammond.

How about this one? Notice no ashtray visible.

Yes Dave is referring (I think) to the foam filled tires.

Check FB Marketplace and Craigslist for a used Magliner or filmtools clone. They're the standard for the motion picture industry for a reason. Buy once... cry once. You can use them either horizontally or vertically depending on your needs. There are lots of configurations available so do a little research first. A lot of the accessories (nose extension, accessory bag, straps) can be bought new and retrofitted but check first. I actually like the foam filled wheels better than the pneumatic ones. Nothing is a bigger drag than running late to a gig and fooling with a flat on your cart. The magliner may seem expensive at first but the time saved on your loadins and wraps, as well as security for keyboard and equipment, will be money well spent. If you fly a lot to gigs, Kartmaster Tri-Kart might be worth a look.

I'll play... After my Baldwin spinet was destroyed in a T-bone auto crash (Don't ask about either) I ordered up a Farfisa Combo Compact from Chuck Levin's with the insurance money. It arrived in Mississippi from DC by Railway Express (am I showing my age?) It was a good gig axe for the Times played thru a blonde tolex Fender Tremolux. The Tremolux was a beauty but could never keep up volume wise with the Super Reverb's the guitar players had. After I graduated from college in 1970, the Tremolux was reluctantly sold to a guy in a Shriner's band that played it on parade floats. Years later I was back in Atlanta and jammed with some guys who had a Combo Compact and a Wurlie 200. I left the jam with no nostalgia for the Farfisa but a serious jones for the Wurlie which I soon indulged before prices went thru the roof.

Wife's a retired RN w/ 40+ years of experience. She's seen a lot of patients in ventilators. We're staying home for Thanksgiving and continuing to observe masks, social distancing, and hand washing. My idea of "Liberty" is staying alive by using our God given noodle to make smart decisions.

I've used the Apex Pro for years but I don't have a heavy stage piano. It's quick in and quick out once you know how not to pinch your fingers. It's not the steadiest thing on the handtruck so I usually just carry it with a free hand on the 2nd trip. I've always been afraid of some customer/audience/barfly coming up to request Mustang Sally leaning on the Nord Electro though. However, if they're ever any gigs again, I'm seriously thinking of joining the K&M 18880 crowd.

Is this for gigging or home studio? Ask to see invoices from the "reputable tech" so you can assess the type of work that was done and when. Failing this ask for the tech's name and number (you'll need it anyway if you buy the organ) and give him a call. Take the back off and look for cobbie or suspicious wiring. If all the capacitors look shiny and new that's a deal breaker for me. Did A100's have dreaded deteriorated foam problem? Run the serial # from the spec plate on the Hammond Age Determination List and get a rough idea of the vintage of the box you are looking at. Bottom line is... if you're really in the market, if it's not an A102 (personal preference), if it's in old lady home organ shape, if there's no anomalies in the way it plays or sounds, and if it includes the original pedals and bench; $1500 is about right. Just know a good tube Leslie will set you back at least $1500 + wiring and half moon switches. You will quickly tire of the chorus and internal speakers and start jonesing for a Leslie. http://www.tonewheelgeneral.com/agelist/agelist.php

I'm not sure I would do this or (as mentioned) it is even worth doing but if I did want to pursue this I would forget contact paper. The stuff you want is 3M Di Noc. It comes in wood, silk, carbon fiber and a multitude of textures and colors. Just order up a few swatches that might have the look your deem appropriate. They're a dollar each. Once you've decided, order up a big roll and apply. Watch the videos and have all the tools on hand before you start. Sand and paint the end blocks to compliment the Di-Noc.

Even if the C3 is cheaper it may end up being more expensive initially (after refurb) than the clone. But that's alright! IMHO as long as you can stay in the final outlay range of $3500-4000 you won't get hurt on the C3 and 21H. Research the prices of 5-8 year old clones and see how they hold their value. All that said, there's a couple of other factors not yet mentioned. What kind of gig venues do you play? Is there room for a Hammond and a Leslie? Figure on another $350 at least for RoK's and it ain't bad to have a refrigerator dolly for the Les if you ever encounter stairs. What's your transpo situation? Have you got a van? Back in California, I had a 4Runner that could tow 7300# so if I had a trailer, I could have gigged with my B3 and 145. The problem was I lived in a townhome complex and there weren't enough parking spaces for cars much less cargo trailers. My compromise was bringing the 145 (upright) in the 4R and running my Electro61 through it when possible. Lastly how much can you depend on your bandmates for loadin and loadout? My opinion is you can't go wrong buying a real Hammond for the right money as long as it's not seriously dogged out. As has been said here many times... "ain't nothin' like the real thing baby"

Looking at Mate's stand and thinking about the lack of Apache parts and hardware today, I was wondering if something similar could be made from small Hollaender speedrail speedrail?

Yes. Better a clone thru a real Leslie than a real Hammond thru an emulator. No.

Skip the M100. Lots of cheap M3's around $200 max on the West Coast. Don't chop a M3. I guess you could pull the amp and speakers out and save a little weight. Then spend $300 for some Roll-or-Kari's. Too much fuss is made about "hauling a B3" 1st of all it doesn't weigh 400 lbs if you leave the pedals and bench at home. You do need the right vehicle though if you're going to gig. Maybe a mini-van or a small trailer. You're looking for a situation where it's not a shoulder high lift from the vehicle to the street. Lots of ADA spec handicapped access ramps around now, so if it rocks it rolls. Most gigs I could have a B3 and Leslie off the trailer and set up faster than an Apex stand, two clones, and hook up midi cable, expression pedal, Speakeasy preamp, 1/4" cables, and stage monitor speakers. Flights of stairs are a dealbreaker or you bring something else. As others have said, don't rule out A100's or B2's or C2's & C3's. I see these for less than the clones but they might need a grand or so of work to bring them up to snuff but they're imminently rebuild. See this article on moving the B3 http://www.myplanet.net/x77dude/moving.html he knows of what he speaks.