Meisenhower

dude your pedals are backwards. Everyone knows you use the volume pedal with your right foot and leslie switch with your left! Maybe not if you're "left footed."

One of the BIG advantages is when you're in Hammond mode. The expression pedal will gradually add that "saturated" sound that is so characteristic of of the Hammond sound. Using an "in line" pedal on the output isn't able to trigger that aspect of the sound, as it's nothing more than a volume control. Using an expression pedal is the only way to really play the instrument the way it was intended to be played!

This is a concern for sure. The Mojo will accept a MIDI pedal board, no problem, but I suspect the XK3 Pro system pedals will NOT work (but Guido should be able to give the final word on this). Maybe something like the XPK-200L might be better, but it's still NOT a full 25 pedalboard. I think the XK pedals might be proprietary, and have never heard of anyone using them with anything other than an XK system. The SK2 . . . I don't know. There isn't ANY mention of a pedal board option in any of the specs, but once again, if there was, I doubt it would be anything other than a typical MIDI pedalboard. I wouldn't consider the SK2 for a replacement for my XK series, anyway.

I dunno if everyone is bailing on their XK's and Nords just yet, but it does have some of us really considering a change. Case in point. I'm a "pro Hammond" guy, to a point. Here's why. Aside from being a big box console guy since the stone age, I've had a literally flawless experience with my XK3 which I bought new in 05 and it has grown into the full XK Pro system in the subsequent years. I've not had one second of downtime from this rig which has been a real workhorse and gigged regularly since I got it. Same goes for my NE2. I originally bought the Nord on "impulse" to use as a "jam session" ultraportable, and really didn't expect it to be much more. Over time, it became integrated into my funk/soul band rig, along with my CP33, because if it's small footprint and lightweight (and the XK3 top stayed home for these gigs). It too performed flawlessly, until with age, an intermittent problem with the "Control" jack arose, and nothing short of replacing the motherboard would fix it (but it only affected the organ side, when using the control pedal jack), and only then occasionally. Now . . . I'm in the hunt for a replacement for my aged NE2. I like the sound of the NE3 (while I prefer the sound of the Hammond clone, and like VB3 even more), the NE3 cuts fine for the funk band and the "other sounds" are great. I HATE the interface for the NE3 to the point that I won't buy one. Let's take a perfectly good user interface and screw it up . . . thanks Nord. SK1/2 looked like the holy grail, Nord killer. Well, not quite. Despite loving the organ side of the SK, the EV side didn't quite do it for me (and I didn't have any hiss or noise to distract from my evaluation unit). However, between the initial QC issues AND the fact that I didn't love the EV's from a unit that was working properly, it didn't sell me. Maybe that will change as their library grows, and I know they quality problems will be a thing of the past (interjecting some Hammond "fanboy" optimism here). For me, I have to wait for the dust to settle on the SK series or Nord to release a new generation Electro with a better UI. I don't want a rompler (I have one and almost never use it for my bread and butter sounds (Hammond, clav, rhodes and AP), not because of its sounds (except that the organs suck), but it's a 61 and I hate the keybed on my Motif ES6). Oh yeah . . . the point of this original post for me. I'm seriously considering the Mojo to replace my XK Pro system (almost on weight alone) . . . . but not until I've had the chance to play one in the flesh. It look and sounds THAT good (at least on the videos and recordings I've heard). That said, even a "pro Hammond" guy like me is still more "pro my own money" and will spend those dollars where I think they'll work best for me.

Whatever dude. You're complaint was about noise in your Hammond. Now you're bitching about the delivery date and your dealer issues. Which is it? Sounds like you just enjoy bitching. If we don't know the "full story" after you posting 21 threads on the subject (some of the quite lengthy), who's fault is that? I'm not quick to criticize you either . . . . I've watched you go on for days berating people who only tried to help you and then rank on a company's company service because they didn't ship you a new unit before they ate Xmas turkey. I didn't "jump in" to contribute, because there wasn't anything LEFT to contribute. Others had already taken the necessary steps to try and help you, and all they got for they're trouble was "piss poor attitude" from you, much like virtually all your posts in this thread. And we thought you were "done with this thread." Tsk, tsk!

If you consider a company offering to replace a potentially defective unit with a working one, at the most reasonably available time, "poor customer service and support", then you have an unrealistic expectation of what constitutes good customer service. Personally, I think Hammond may have pulled the trigger a little early in their release, on the basis of the myriad of production units that have some kind of problem. However, that ship has sailed and all they can do is manage each issue as it arises and replace units, update software and firmware until the bugs are worked out. To the best of my knowledge, Hammond has been doing exactly that. Quality control and customer service are two different animals. It was your choice to purchase an SK, despite some well documented bugs occurring with units in the field. Knowing that, you took a risk and got a bad one. Hammond offered to replace your defective unit. You didn't like the time frame so you returned it. Fine. Your choice. Stop trying to defend a position that suggests that Hammond didn't "do the right thing" to solve your problem. You never gave them a fair shake to remedy the issue in the time available. Does Hammond have a problem somewhere in their SK production chain? My guess is yes! Are they doing everything the can to remedy it? I don't know, but given the negative press they've been getting about it, I'd suspect it's "priority one." Should they stop selling units because of these problems? Not likely. That strategy seemed to work just fine for Microsoft! With respect to your gross and multiple overreactions to a number of fellow forumites, who were only trying to get enough data to try and helpfully reproduce your problem, YOU sir are out of line. Just curious, do you have the same reaction when you take your car in for an intermittent issue and then berate the mechanic when they ask you the conditions under which the problem occurs?

Amazing stuff! Really killer work, Moe! Seriously one of the most beautiful things I've seen recently (including the Victoria Secret model who stayed with me for a couple of weeks). Damn!! Right on, bro!

+1 on all counts!

That is very true Prof, the gospel churches do love those flatted keys and that is where Stevie cut his teeth. On the other hand, like you said, he is talented enough to play in any key, or all of them if he chooses. Here's a short but sweet clip of Stevie playing a little Giant Steps with Stanley Clarke. Not bad for blind guy that loves to play the black keys, eh!! [video:youtube]

Any chance you could provide a link, or a file with those 8 seperate parts? I'd love to hear it broken down. Klonk Here for the Superstition Multitrack

It's never been an issue for Stevie finding one key "easier" than the others, as he's so much of a bad ass. Horn's were likely the biggest reason for Eb, followed by his love for "flatted" keys in general. Lots of Stevie tunes are in Eb, Db, and Ab. When I play Superstition with a horn band, its always Eb, when a guitarist calls it, it's most often in E. I always play the horn lines on Hammond and it sounds great! Besides, with 8 clav parts in the original, there is no way to really cover it all 100%, so the right feel and overall spirit is far more important.

This wasn't said to me personally, but rather a drummer friend of mine at the end of a set and it never fails to crack me up!! A real funky (as in "Superfly/Curtis Mayfield" funky) dude came over to the drummer and said: "I's loves 'da volume of 'yo tempo, 'cause you can dance on it." Not sure there's a better compliment for a dance band drummer anywhere!

If you're on a tight budget, look for a Nord Electro 2. Lots of bang for your buck!

The above posts are spot on, but I just thought I'd add a couple of opinions. At the core of it, there is NO true substitute for playing a big box Hammond thru a leslie. LIke others have said, it becomes a "lifestyle" to a certain degree when you've joined the club and becomes part of the fabric of our being. Owning a Hammond is not like owning just another instrument (at least it's not for me). That said, should you be considering a console (even a small one) to gig with? I'd say no. The negatives FAR outweigh the positives, especially from someone who is a neophyte to the instrument. Buy a clonewheel, as it will be way better than your Triton for organ sounds. There is little reason to ever gig with a full console Hammond, unless you're Dr. Lonnie Smith (or some equally bad ass organist), or have a road crew. The clonewheels are that good and infinitely more practical. There is little to be gained by "chopping" a Hammond, since the bulk of the weight still resides in the top portion and nothing can be done about that. If you're totally new to Hammond and really want one to have the experience and keep it at home, buy an inexpensive M3 or M100 and play the hell out of it. They'll get you much of the experience and give you the opportunity to learn the instrument without the expense of a B or C3 or A100. FWIW, I own four Hammond consoles (each with leslies) and do occasionally gig with my B3 or BC. It's almost always my organ trio or a higher profile gig that warrants brining out the big guns (and it's as much a show of force as it is for the sound). The rest of the time, my XK3 happily does the job quite well and my back and bandmates don't hate me! Enjoy!

Pretty sure even Jon Lord didn't travel with a rig like that!! Seriously, 4 Leslies?

Model D's can sound amazing! First, there is NO fold back so the bass is deep on the lower manual and goes all the way down! Very good for playing LH bass lines. Second, the chorusing is mechanically engaged, and is derived from a 2nd set of slightly detuned tonewheels. The result is a much more "shimmering" chorus than the electronic chorusing found on the later models. The "Tremulant" which is a type of vibrato control, I personally find unpleasant, but it is there. The big difference is there is no independent vib/chorus control for each manual. It's either on or off for both. As far as the tone cabinet, it is worth something if it works and you don't have a leslie to run your D through. Also, if you're going to add a leslie, you will need to install a B+ power supply into your Model D. Also, I have known more than a few guitarists who love to make guitar amps out of Hammond Tone Cabinets. I know the PR 40 series is more desirable, but you never know. One of my 4 consoles is Model D, stock with no mods and it is a great sounding box and if it is in good condition, $600 isn't a bad price.

I'm also a long time (30+ years) runner and triathlete and have done all manor and distance of races from 5K's to Ironman distances (including 13 Boston, 6 NYC, 3 Chicago, a couple of LA and countless other less noteworthy marathons) with a personal best in Boston of 3:01:47. I had to give up marathoning a number of years ago, when after a number of knee procedures, my ortho told me to "stop running, or have double knee replacements". Most my damage was likely caused in my earlier years when runners did little else but run. There wasn't really any crosstraining with weights in the 70's and we just ran more and more miles. Back in the day, my typical daily schedule would be 7 miles in the morning, 5 or 6 at night, with a long run (10-15 miles) on Saturday and Sunday was a rest day. We know NOW that a regimen like that is harmful to the body, especially without special attention to strengthening the muscle groups that support the knees! I stopped serious distance running and keep my distances to 10K and under now. I now focus on long distance road cycling and my knees are able to cope with those stresses much better. That and the occasional tri keeps me fit and sane!

People (band members or anyone else close by) use to put their drinks on one of my Leslie cabinets and it drove me absolutely nuts, as well as really pissed off if they did it after me telling them not to do it. My solution to this problem was simple. I kept a small trashcan behind the leslie and whoever continued to place their drink on the leslie (after being warned), had their drink simply thrown out. Full fresh cocktails would routinely be tossed . . . .soon people got the message.

Nothin' that a little auto tune won't fix!! Call T-Pain and get him over there, stat!

Hi all: This is a great forum and I'm pleased to have run across it, so I thought I'd finally jump in and give an introduction. I'm a college professor & physicist by day, and jazz musician at night. I'm also a producer, engineer and chief cook and bottle washer by at my studio (and a few other commercial entities around town). These days, I play mostly straight ahead jazz and fusion. I also play bass and guitar, but piano is my first and favorite love. I've been playing for so many years that I should start forgetting how very soon!! I am a native Detroiter, and was originally a classically trained pianist (as a student of Mischa Kotler), whos musical world forever changed after hearing Miles Davis's Kind of Blue for the first time. At age 10, I discovered John Coltrane, Herbie Hancock, Bud Powell, Art Tatum, Thelonious Monk and Bill Evans, and developed a deep love for the jazz idiom. Later influences include Chick Corea and Return to Forever, John Scofield, John McLaughlin and the Mahavishnu Orchestra and others. After migrating to Cambridge, Mass for college, I continued to write and perform music of many styles. After spending nearly as much time "hanging out" at the Berklee College of Music (which I never formally attended, but still managed to play in some ensembles there), as I did at my alma mater, MIT (which was just up the street and across the river). I got the opportunity from my Berklee experiences to play with some of the greats who were there at the time! Over the years, I've played disco, funk, rock, R&B, fusion, straight ahead and hard bop jazz, the blues and have done it in North & South America, Europe and Asia. I've had the great fortune to have performed and shared a stage with Mike Stern, Stan Getz, Woody Herman, Baron Browne, John Blackwell, Meisenhower, Destiny, Id.i.om & others. I've also been a long time jazz theory student of Charlie Banacos (both in person and via correspondence). On a non-musical note, I'm an avid traveler and have visited over 40 countries and have lived in London, Zurich and Geneva. I also share my home with a collection of 7,000 vinyl records and two Great Danes named Pi & Enzo. Some of my music can be heard at http://www.myspace.com/meisenhowerjazz My personal studio and rig includes (but is not limited to) the following: iMac G5 Protools 7.4 Apple Logic Propellerhead Reason 4 Ableton Live 7 Digidesign 002R Digidesign C24 Control Surface Mackie 824HR's Dynaudio MB 6a's Presonus Eureka Universal Audio LA-610 Signature Neumann TLM -103 (pair) Groove Tubes GT-66 (tube mic) Mixed bag of VSTi, RTAS plugins and other software instruments: Strike, Waves Diamond, Kontakt, Arturia Minimoog V & Prophet 5 Assorted room treatments, patch bay's and other misc goodies. My Keyboard Setup includes: Yamaha C7 Grand Piano 1957 Hammond B3 with Leslie 145 & 147's Hammond Xk-3 Kawai MP9000 Stage Piano Yamaha CP33 Stage Piano Fender Rhodes Mark I 73 Stage Piano Nord Electro 2 Sixty-One Minimoog Voyager Electric Blue Yamaha Motif ES 6 Access Virus Ti Keyboard Korg MS-10 Guitar & Bass Rigs: 1960 Fender Stratocaster (original) 1960 Fender Masterbuilt Custom Shop Stratocaster Relic (2007) 65 Amps Soho 71 Fender Twin Reverb Palomino V32 Epiphone Valve Jr. Combo Tobias Killer B4 Bass Alembic Mark King Bass Mark Bass Minimark Ashdown MK500 Amp Bergantino HS 212 Cabinet Peace & music. Ray

Hey all: I sort of new here and just getting around to some "administrative" stuff (profile, introduction, et al), and wanted to get samples of "some" of my musical projects out there. Meisenhower is my fusion jazz project and there are some tunes posted at the following page. www.myspace.com/meisenhowerjazz I also have a "straight ahead" jazz group called the "id.i.om jazz quartet" and I'll have some of this posted soon. Hope you like it. Ray