AD1969

I use a DMC 122 with a 30 note flat Viscount pedalboard (with two expression pedals). These go through my MacBook running whatever I want to play (Hauptwerk/ VB3/ MainStage etc.). I’ve been using this setup for practice of classical stuff at home, and occasionally take the DMC out for gigs. It’s flexible and portable, and has worked well for me. Although not cheap, it came in cheaper than most things that were around at the time.

Ah, ok - I very much doubt that it"s original to Fenaroli, as it makes no sense!. The figures always conform to the key, with accidentals appearing when notes are foreign to the key signature- as you would expect. The only legitimate accidental is in bar 11. A slash through a figure means that it is to be raised, not flattened. The difficulty with the example that I quoted, is that the figures don"t reflect what"s happening in the music and vice versa. It"s odd, as the wiki article on the rule of octave gives the same figures, though that example is in G major, so it"s easier to see how that mistake could be made - it"s still redundant though. The mistake with the slash 5 figure is repeated there also. It appears that the example that I quoted is a direct transposition of the wiki one, mistakes and all!

[quote=uhoh7 OK Here it is: I"m sure my description here won"t be perfect, but should be good enough for you to easily get the gist. We will have two basic forms: major and minor. To begin the left hand will simply climb up and down the bass note of the scale. In a minor the 6th and 7th bass notes are sharp going up. Major Scale © Hi, I don"t know where this is from, but some of the figuring isn"t right. The sharp six in chord two, and the the sharp 5 in chord seven, for example. The only accidental needed is in bar 11. The ordering of some figures is a bit confusing, but I think it"s trying to show something else. Good post though! The way harmony was taught many, many years ago was from a practical perspective, and these kind of things are a reminder of that. Thanks

Thanks for the suggestions. I did see that you could add pedals to the lower manual, but my understanding is that pedals are usually used for accents, so if I wanted to do that, it would lose its effect. I"ll have a play with it, but wonder how 'authentic" that approach is? I have the B5 on my laptop, and from what I remember, that was fine. I"d like to use the VB3, but I"m beginning to think it may just be the way it is. i thought that the DMC/Gemini was the same as the Mojo, and have never thought LH bass weak on things I"ve seen with that. I"m using headphones at home, and gig with a Yamaha DXR12. BenWaB3 - did you replace it with something else? Thanks

Hi, Am I missing something? Left hand bass is sounding really weak on my DMC with Gemini expander. I"m revisiting jazz organ after some time away doing other (keyboard related!) things, but this frustration still remains. The lack of 'bass" was even commented on by the other members of an organ trio I played with previously. I"m using the usual settings on the VB3 (848 - lower manual), on the MT1962 A100 generator. It just doesn"t seem to have any weight or presence compared to recordings or videos (Tony Monaco on a clonewheel, for example). Is there something else that you need to do to get that sound? Thanks

In addition to reducing the volume, rapid passages are easier to play as the hammers have less distance to travel. What the article doesn"t mention is that the fourth pedal is standard on Fazioli"s flagship model, so it"s an easy misunderstanding to make. It was unique only to Hewitt"s model, which has three pedals as standard - in other words, it was the only model 278 in the world to have a fourth pedal.

Kind of. As I mentioned in the Hewitt/Fazioli thread: on a modern grand, the una corda pedal shifts the action so that two of three strings are struck - so one less. This results in a change in volume and timbre, since the softer part of the hammer is striking two strings. The Fazioli fourth pedal moves the hammers closer to the strings (like an upright) which results in a reduction in volume, but not a dramatic change in timbre.