Shamanczarek

My first Hammond was an M-3 which I bought in 1971. Back then they were worth more and I had to pay almost $1000 for it. I got two new Leslie 147s with preamp pedal for a little less than I paid for the organ. I sold the M-3 when I got a C-3 a few years later. Then went Hammond-less all through the 80s when polysynths took over. In the early 90s I got another C-3 for $200 but had to let it go for lack of a place to keep it. In the 2000s I got an L-122 for cheap and then got an M-102A. Sold the L-122 when I got another C-3. Of the spinets the M-3 is most like a B-3. It has the same keys and similar tabs for vibrato and percussion. It only has one 12" speaker so doesn't sound so good without a Leslie. I liked the L-122 a lot. I think the cabinet looks the best of any of the L models. It is a simpler design without the mechanical chorus/vibrato but has the self-starting motor which Keith Emerson put to good use for his off-pitch theatrics in the L-102 model he favored. The internal amplifier powers two 12" speakers using EL84 tubes like some popular guitar amps. The spring reverb in the one I had was the best I've ever heard. I still have the M-102A. I like the 102 cabinet design a lot although if I could find one I would get the M-162. The M-102 has a separate reverb amp and speaker for a spatial effect. Even so the reverb in the L sounds way better. The M-100 sounds the best of any spinet without a Leslie. The Celeste Chorus Vibrato is gorgeous sounding and not found on the console Hammonds. There are slight differences in the M-100 amplifiers from the early to later models. I think the M-102 came out later than the M-101 or M-111 models. In England the M-102 was very popular. There were no M-3s there so in the 60s the only spinet choices were L-100 or M-100. The M-102 was particularly popular because it could be purchased in a split cabinet model which was easier to transport. There were very few B-3s in England at the time so when a band got big enough to graduate to a console it was usually a C-3. Later in the 70s as many British bands became wealthier they often imported B-3s to England and spinets fell out of use for the most part.

Steve uses the Vox Continental II which is the British-made double manual Continental. Most of us have the Italian version which is the Super Continental.

I still have three of those synths. The DX-7, Prophet 5, and OB-8. My DX-7 w/Grey Matter E! is currently up for sale so probably will be gone soon.

The e-mail I originally registered with is no longer valid so I re-registered. After all these years I'm now starting over as a new member and got credit for my first post.

There was A Diamond in the Mind: Live 2011. He used different keyboards here possibly an Andromeda and some others. The JD-XA came out in 2015.

They have been running two different Duran Duran concert shows on PBS tonight. Nick Rhodes is using a few Roland JD-XA and JD-XI Synths. The JD-XA has an analog section which consists of four dual-DCO voices and transistor ladder filters. These voices can be configured as four separate mono synths or a four-voice polysynth. Then there is a four part digital section which can be combined with the analog section. It also has CV/Gate control which was used a lot before MIDI came along. Rhodes does a great job of replicating his signature sounds using this setup. If I was going to do 80s music using newer gear I would consider a JD-XA.

Since the change I can't log in.

I can't log in. Doesn't recognize my user name, password, or email.

Stephen Foster was the first popular songwriter and died poor. I think his first internationally known song was "Oh! Susannah".

Is it Irving Berlin's "Alexander's Ragtime Band"?

For those in the New York/New Jersey area Leland Sklar is being featured on Profiles on the NY Life channel at 11:00 PM tonight.

Thomann won't even sell the vastly overpriced Nord Triple Pedal or the hugely overpriced Nord padded bag to US customers. I wonder why they list these things in US dollars if they can't sell them here. I tried to order the Stage 3 Compact from Thomann a few years ago and of course that was not available for US buyers. Luckily I found an even better price from a US dealer.

Watch this guy reach tenths and other shorter intervals using the fourth finger and thumb almost exclusively in his left hand. [video:youtube]

The average piano player should be able to reach a tenth if both notes are white keys or both are black keys. Try C to the E an octave up. If you can reach this you can do a good number of tenths. Try D to the octave up F#. This will be difficult for many players. You can roll this one by having the damper pedal down and quickly go from D to F#. A good practice piece for left-hand tenths I've found is "The Way It Is" by Bruce Hornsby. Most of the tenths are white keys and are held for a full measure. The stretch range of your left-hand will increase if you put in the practice.

I am now considering listing my CS70M at $50,000. High CS80 asking prices have also raised the perceived value of the CS60 and CS50. These Yamaha synths are full of proprietary IC's which are difficult to find.