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What Leslie could you plug a guitar into directly? This was with a combo pedal right?

I've used a Ventilator with two powered monitors on a single stand, angled apart 60-90 degrees. I emailed Guido Kirsch about this and he told me that's how it was intended to be used (!).. I don't know if it sounds better or worse at distance -- I've only heard it sitting in front of it. Depending on how the simulation was done, it makes some sense. If the simulation was intended to sound like a Leslie recorded with two microphones spaced with a 90 angular degrees about axis of the center of rotation (the horn say), then it makes sense for loudspeakers to be place in the same orientation. I while back I experimented with Leslie a sim using a set of 16 impulse responses captured for both horn and drum at 16 rotational coordinates. The outputs of these 16 FIRs were crossfaded as a function of the rotation. To create two outputs, two of these ran simultaneously, one 90 degrees behind the other. It sounded like a Ventilator.

Will each recording be a 2-channel recording of the analog outputs of a simulation? How are they to be compared: headphones, monitors in a listening room? It is entirely possible that a simulation was designed for a certain reproduction technique, e.g., headphones, two spaced speakers, two coincident speakers with a relative angular relationshp. What will be the audio source for the the hardware simulators? Will a standard audio track or tracks be provided? Will these recordings be with or without overdrive? Will the judgement be on how they sound for live reproduction or for recording purposes? Normalizing the recordings to -6 dB peak is a good idea. I'd also suggest that these be required to use no compression, limiting or EQ.

Chin? (Jimmy Smith in 1962, @ 6:35)

There is some minor misinformation in both the YT and website info that will need to be touched up. The presenter in the YT said the power amp was 50 Watts. The website says 40 Watts. The presenter said that the horn was designed differently because this Leslie could switch between a 147 and a 122. The website says "...the horn rotor has been created in the original's specifications." The presenter implied that the switching from 122 to 147 can be done while it is operating, "so you don't have clipping or anything like that in that transition if you decide to do it on-the-fly". [Why would someone want to do that?] However, from the photos on the website, it looks like it is done on the power switch labeled ON(147)/OFF/ON(122). "The '122' style is a real vacuum-tube circuit, while the '147' style is transistor-driven. The power amp serving both preamps is a 40 watt tube variety, matching the output of classic Leslie cabinets." Notes from the website and the gutshot photos The vintage organ connection is 122 only. Cabinet: DC servo motors for rotor drive. Cabinet bottom and sides appear to be plywood. Bottom shelf looks like a composite material. Amp: The amp assembly is PCB with a dozen or so molex type connectors for discrete wires. All tubes are PC board socketed. Tube complement is 2x6550, 12AU7, 12BH7. There appear to be four or five Omron relays on the PCB. Crossover: Crossovers appear to be identical to vintage. The printed values 7.8uF, 12.5uF, and 5.2mH are visible on one PCB ass'y. It would be fun to see a schematic. Edit: added website link

I wonder it was done with focus stacking, and perhaps HDR. I'd consider a print of the Balanced Action Selmer. They're all interesting though.

A bugs-eye view? Keyboards & Percussion Strings Wind & Brass

The weirdest I've seen was someone selling old saxophone reeds (used) on ebay as "vintage". I am not kidding.

Does it make the noise with no keys pressed? No drawbars pulled out? With CV off?

LH bass/clonewheel player here. I need to work on picking the tunes to solo on and to relax while soloing. Regarding volume, I also must hear myself in context with the band. However, how to get it right depends on the stage setup and volume. I play through a Leslie and a separate bass amp so location of those is important. In extreme cases (boomy subs), I've used full coverage headphones to try to keep listening levels at a reasonable volume while hearing both of my instruments and the band clearly.

When switching TREM to STOP, does it engage the brake (slow motor briefly) or simply coast?

We recently watched Jaco Pastorius: The Lost Tapes Documentary from YT. At its end, was an extraordinary 8 minute clip of Thierry Eliez playing an interpretation of "Three Views of a Secret". RealCut, the poster of the Lost Tapes video, has also posted the clip on YT!

I am reading, This is What it Sounds Like - what the music you love says about you by Susan Rogers. A christmas gift from my daughter, I get the impression it is intended more for listeners and music lovers than musicians. However, I did find out that I am in the 9% of the population that don't see any kind of mental image when listening to music.

I think the one-note has its uses. Red Prysock was one of those "one note" guys. In this recording, the one-note intro is just a hint of the extensive one-note soloing to follow.

I found the link below a the at the Made in Chicago Museum to have a lot of historical information on the Hammond organ. It also has number of references that may be of use to the OP. Hammond Organ Company, est. 1928

I'm getting cataract surgery on the right eye tomorrow, the left in two weeks. At the pre-op I asked a couple of questions: Q: How long does the surgery take per eye? A: 5 minutes. Q: How many does the doc do in a day? A: 50.

Thanks, I'm bailing on LastPass. I've decided against NordPass. I'm checking out RoboForm next, one reason is the choice for local storage.

These videos are of Brent Mason playing with Guthrie Trapp at a Guitar Center. The videos cannot be embedded so you'll have to click the link to see them on YT. Both these guys tear it up pretty good but Brent seems a little more well rounded at this time (8 yrs ago), wrt comping, chord voicings. #1: https://youtu.be/jFMyLFgqbbw #2: https://youtu.be/wElIqsZ4ZPk

non-slip shelf liner, also comes in black

I heard pianist Jeanne Peterson say this to a woman that approached the stage and asked her if she knew the Air Force March. The gig was for a bunch of ex-military types.

Most recently: The Narrow Margin, 1952 (IMDB) Nominated for an Oscar (best writing). Charles McGraw - hardnosed cop with an attitude Marie Windsor (Queen of the B's) - mobster's widow, also with attitude Storyline -------------------------------------- When a mobster's widow decides to testify and provide names of others involved in evil deeds, she goes undercover to avoid being killed. Onboard a train going cross-country, she's being escorted in order to testify. Cop Walter Brown and his partner are assigned the task, but the mob are on their trail, attempting to make sure she never reaches her destination. ------------------------------------- Loved it. Film noir, B&W w/dramatic lighting, gritty & intense plot, clever dialog, men with hats and everybody smokes. Not too long (73 min).

[On the Jazz de Vitoria Gasteiz 1995 video posted earlier] The hand independence is stunning. Was he born with two brains? On the blues, the LH plays a walking bass line, perfectly in time with the drummer, while the RH takes off in a furious flurry of runs and bebop lines that are completely free of any notion of the beat, like its spewed from a completely different musical source. I've watched him do it many times and it always leaves me amazed. Such a talent.

I saw him live only once. I'm too stunned for words... Here he is at 23 (!) with John McLaughlin and Dennis Chambers - Limehouse Blues.

The subject of harmonic beating came up on the Hammond Mailing list in 1994. I had a Voce Micro-B that did it. Keyboard Magazine identified the Hammond XB2 and the Roland VK-1000 also. Those clonewheels used equal-ish temperament tuning for the fundamental tones but derived their associated drawbar frequencies using the natural harmonics of each fundamental. Later simulations that use 91 seperate tone generators for all frequencies will not have harmonic beating. For those that aren't familiar with it, play two notes a fifth apart at this drawbar setting: 088000000. Here's an example of the resulting frequencies generated when playing A2 and E3 on a clonewheel with equal temperament fundamentals and natural harmonic drawbar frequencies: A2-DB3 = 440 Hz A2-DB2 = 660 Hz E3-DB3 = 659.255 Hz E3-DB2 = 987.767 Hz The A2-DB2 and E3-DB3 have a 0.745 Hz difference. Under the right conditions, this can be audible. Here's a wrinkle though -- even with a Hammond or 91 generator clonewheel, harmonic beating is theoretically possible when the output is distorted. Distortion generates natural harmonics! However, I doubt it could be heard through the din and roar of a Hammond and Leslie at full song. I think the fact that Keyboard Magazine reported it as an issue shows that there was an awareness about it in the clonewheel playing public. The clonewheel makers may have taken notice and changed the generator architecture to eliminate the artifact. Whether or not it was even audible, it could have been viewed as a deficiency when compared against a competitor's product that did not exhibit the beating. Re. the OP: I'm annoyed if it sounds like a thing trying to sound like a Hammond/Leslie but failing.

I now use MuseScore for everything. For me, it's faster and more intuitive than Finale (I'm really slow doing them by hand). I have over 100 old Finale charts, mainly lead sheets. If I need to edit and create a new pdf, they convert to MuseScore without much trouble. Some touchup required.