yorgatron Posted February 5, 2009 Share Posted February 5, 2009 and does the footswitch need LEDs? my other thread got hijacked Link to comment Share on other sites More sharing options...
Sven Golly Posted February 5, 2009 Share Posted February 5, 2009 For authenticity I prefer a halfmoon switch. However, I find myself more often than not playing a clonewheel, and using a footswitch, so I've adjusted to that pretty well. So my response is "a little from column A, a little from column B". Bet that doesn't help much. The question you need to ask yourself, though, is whether you come from a background of playing a real Hammond; if so, you'll prefer the halfmoon switch, because it's what you grew up with. If not, you won't have any emotional attachment, and will very likely adapt to whatever you end up using. So the only person that can really answer this question is the person that asked it. Link to comment Share on other sites More sharing options...
Joe P Posted February 5, 2009 Share Posted February 5, 2009 Yorga, Also, if you have not yet developed any preferences, remember that a foot switch is hands-free, which may be desirable in certain situations. Regards, Joe Link to comment Share on other sites More sharing options...
Joe Muscara Posted February 5, 2009 Share Posted February 5, 2009 I think I'd prefer to use a halfmoon, but the Motion Sound Pro3X came with a footswitch, so that's all I have. I've been thinking about rigging up a halfmoon to hang off my Electro and control the MS. Does anyone have any good suggestions about where to start? "I'm so crazy, I don't know this is impossible! Hoo hoo!" - Daffy Duck "The good news is that once you start piano you never have to worry about getting laid again. More time to practice!" - MOI Link to comment Share on other sites More sharing options...
ABECK Posted February 5, 2009 Share Posted February 5, 2009 Operating the halfmoon switch is all part of the dance of playing the Hammond. Reach here, pull there, press this, push that, more gas, swipe, chop, enjoy! However, a footswitch sure would simplfy the playing. Link to comment Share on other sites More sharing options...
iLaw Posted February 5, 2009 Share Posted February 5, 2009 Switch mounted on the side of the expression pedal, all the way back to my first BV. My right foot was always planted on the espression pedal anyway, so it was never a problem and it kept both hands free. Never needed an LED because you know the leslie setting from the sound without even thinking about it. Larry. Link to comment Share on other sites More sharing options...
keyoctave Posted February 5, 2009 Share Posted February 5, 2009 I think I'd prefer to use a halfmoon, but the Motion Sound Pro3X came with a footswitch, so that's all I have. I've been thinking about rigging up a halfmoon to hang off my Electro and control the MS. Does anyone have any good suggestions about where to start? I added a Leslie type switch box to my MS footswitch that controls my KBR-3D. I'll have to look inside the footswitch again to tell you how I did this as it was 9 years ago when I added this to my system. I run a small detachable RCA cable from the box to the footswitch. I can control the speed with either the keyboard mounted switch or the MS footswitch. Comes in handy sometimes when I need both hands for playing. When I use the sim on my Electro 2 (not using the KBR-3D), I used a small narrow black project box that has a push button type switch (a red one, of course!) that mounts on top of the box which I velcro to the front end of the keyboard. It sits below the level of the keys so it will not interfere with my playing. I run a short detachable cable that hooks from the black box into the the speed control jack on the Nord. Kurzweil PC3, Hammond SK-1 + Ventilator, Korg Triton. 2 JBL Eon 510's. Link to comment Share on other sites More sharing options...
Phil Aiken Posted February 5, 2009 Share Posted February 5, 2009 Footswitch here. I don't play pedals, though.... Moog The One, VV 64 EP, Wurlies 200A 140 7300, Forte 7, Mojo 61, OB-6, Prophet 6, Polaris, Hammond A100, Farfisa VIP, ,Young Chang 6', Voyager, E7 Clav, Midiboard, Linnstrument, Seaboard Link to comment Share on other sites More sharing options...
loumi Posted February 5, 2009 Share Posted February 5, 2009 Half-moon for me. Actually, it is currently a modified light switch serving the purpose until I get a real half-moon installed. I have only played a real Hammond one time, but I have always liked the idea of the half-moon. You can easily tell at a glance, or a quick touch what speed the Leslie is in. I can see how, for some kinds of playing, it would be better to use a foot switch. I just don't like the ker-pop of the foot switch and rather prefer the smoothness of the half-moon. Lou --------------- To B-3 or not to B-3, that is the question. Link to comment Share on other sites More sharing options...
mate stubb Posted February 6, 2009 Share Posted February 6, 2009 These days it's half moon, mounted on the black preset key/white bottom octave border. That way I can swipe it with my forearm sometimes when my left hand is occupied on the lower manual. In the old days, I used a slap switch on the lower manual cheekblock. It was merely a toggle switch with a square cabinet hinge mounted above it. I could blindly reach over and slap the switch with the heel of my hand to change speeds. Here's a pic: http://www.hotrodmotm.com/images/gallery/pile_of_keys.jpg Moe --- Link to comment Share on other sites More sharing options...
yorgatron Posted February 6, 2009 Author Share Posted February 6, 2009 http://sfbay.craigslist.org/nby/pts/1013354086.html I think i'm going to modify a stick shift to operate my Leslie,the audience will love it and i'll always know what gear I'm in... Link to comment Share on other sites More sharing options...
King Julien Posted February 6, 2009 Share Posted February 6, 2009 I like to use a sustain pedal (it does doeuble duty - sustains the piano 'presets'). I also have the switch on the expression pedal for the XK-3 but not as comfortable using it. Bear in mind that I'm a clonewheel guy, never played the real thing. I like to move it, move it (except The Wurly which can be a bit temperamental and the 122 for obvious reasons) Link to comment Share on other sites More sharing options...
Legatoboy Posted February 6, 2009 Share Posted February 6, 2009 When I played a spinet or console out when younger always the half moon rocker. I had done that for 12 years or so. These days a foot switch. I like that because I can keep both hands on the keyboard and speed switch. The only problem with a footswitch is that, because I sit and play, it's just another thing to throw my lower body slightly off for a second while I'm already juggling 2 volumes and a sustain pedal. I'm a keyboardist not an organist so no bass pedals for me either. CP-50, YC 73, FP-80, PX5-S, NE-5d61, Kurzweil SP6, XK-3, CX-3, Hammond XK-3, Yamaha YUX Upright, '66 B3/Leslie 145/122 Link to comment Share on other sites More sharing options...
Jim Alfredson Posted February 6, 2009 Share Posted February 6, 2009 I enjoy having both a half-moon and a footswitch on the Hammond XK System. I grew up with the half-moon and still use it 99% of the time, but there are times when you can't reach over and fling it, so the footswitch comes in handy. Why limit yourself? Get both! Keep it greazy! B3tles - Soul Jazz THEO - Prog Rock Link to comment Share on other sites More sharing options...
tucktronix Posted February 6, 2009 Share Posted February 6, 2009 For 12 years, my setup(blues band) have always been a clonewheel(at the time) connected to a Leslie 25 and Fender Bassman, with a switch box containing a footswitch for slow/fast and one for braking. So, I've grown accustomed to footswitch. I've had a few experiences with a half-moon switch when I was gigging with Hammond CV/Leslie 122 setup for a short while. Kronos 88 Platinum, Yamaha YC88, Subsequent 37, Korg CX3, Hydrasynth 49-key, Nord Electro 5D 73, QSC K8.2, Lester K Me & The Boyz Chris Beard Band Link to comment Share on other sites More sharing options...
Legatoboy Posted February 6, 2009 Share Posted February 6, 2009 That IS a good idea B3-er, I like it! I enjoy having both a half-moon and a footswitch on the Hammond XK System. I grew up with the half-moon and still use it 99% of the time, but there are times when you can't reach over and fling it, so the footswitch comes in handy. Why limit yourself? Get both! CP-50, YC 73, FP-80, PX5-S, NE-5d61, Kurzweil SP6, XK-3, CX-3, Hammond XK-3, Yamaha YUX Upright, '66 B3/Leslie 145/122 Link to comment Share on other sites More sharing options...
rod76 Posted February 7, 2009 Share Posted February 7, 2009 Half-moons. I've used The foot switch and didn't like it, It had controls for fast, slow and stop and it just wasn't immediate enough and confused me. I'm very traditional about it and prefer having the switches on the left-side rail. You could also mount it upside down. I've seen that way a few times and it looks pretty radical. Link to comment Share on other sites More sharing options...
Aidan Posted February 7, 2009 Share Posted February 7, 2009 Here's a pic: http://www.hotrodmotm.com/images/gallery/pile_of_keys.jpg Moe, out of interest what are the two boards sandwiching the Clavinet? Yamaha: P515, CP88, Genos 1, HX1 Link to comment Share on other sites More sharing options...
Steve Nathan Posted February 7, 2009 Share Posted February 7, 2009 and does the footswitch need LEDs? I am totally a footswitch convert. I love the sound of the ramp up, and I tend to weave it around vocalists a lot. Being able to switch to fast and then switch off before it gets to full speed is something I do constantly. Doing it it with both hands on the wheel make a footswitch essential. Also essential in my particular application is a visible indicator of the speed. My Leslie is almost always in an Iso booth, where I can't see it, so I have an LED mounted near my Run/Start switches so I always know what's engaged before I hit the keys. I guess with practice I could do as well with one of those pedal mounted switches, but to date, when I've had to play B3s with them, I end up frustrated with too much unintentional triggering (one of the reasons why I now insist on bringing my own Hammond to all sessions). Don't rush me. I'm playing as slowly as I can! http://www.stevenathanmusic.com/stevenathanmusic.com/HOME.html https://apple.co/2EGpYXK Link to comment Share on other sites More sharing options...
mate stubb Posted February 7, 2009 Share Posted February 7, 2009 Moe, out of interest what are the two boards sandwiching the Clavinet? They are synth controller keyboards from the early modular synth days of E-MU (back then, they were the proverbial two guys in a garage, and built the finest modular synthesizers that nobody has heard of.) The top one is their monophonic control voltage keyboard, in a plywood case that I built myself. They sold me the pcb and I bought a pratt reed keyboard and wired it up. This keyboard drove a 4 oscillator modular E-MU synth built from potted submodules, and was the first instrument I ever built. The bottom keyboard is their 4050 controller keyboard. It was the very first keyboard with a computer inside (Z-80 processor), and the very first synth keyboard invented that could play chords by assigning keys to voices, as opposed to the organ style divide-down keying of say the PolyMoog. It had a 2000 note sequencer in it, and I used it to drive an 8 voice synth that I built with a separate panel per voice, kind of like an oberheim 8 voice. E-Mu never sold many of these as they were ridiculously expensive, but by licensing the technology to Oberheim and Sequential, helped usher in the poly synth era. By the time this pic was taken, the Prophet had come out as you can see, and it was obsolete. Moe --- Link to comment Share on other sites More sharing options...
loumi Posted February 7, 2009 Share Posted February 7, 2009 My Leslie is almost always in an Iso booth, where I can't see it ... Steve, I am thinking about doing the same thing with my Leslie. If you care to, could you PM me and tell me how your Leslie is mic'd in the booth? Thanks. Lou --------------- To B-3 or not to B-3, that is the question. Link to comment Share on other sites More sharing options...
Steve Nathan Posted February 10, 2009 Share Posted February 10, 2009 Loumi, I'm not much for PMs, but I don't think it's government secrets or anything. Different engineers like different mikes. I will step in if I'm unhappy with the sound they're getting, but I work with mostly great engineers who know what they're doing. I like my cabinette against a wall with the 3 louvered sides out. Most of the time a typical 3 mic set up is fine. 1 low/2 high. Occasionally I'll run into an engineer who thinks that sound comes out of both horns so they don't want the top mikes directly opposite each other. I tend to like them pretty wide, maybe in just a little from full opposite. I'm generally happy with guitar mikes on top. 57s are nice. Marty Williams has a pair of MXL tube mikes that sound good. I like my Studio Projects C-1s a lot, but often use their C-4s instead when I want the Leslie to cut through a dense track. On the bottom, Neumans are common (87s mostly). Justin Neibank is very partial to the sound he gets with Coles, a couple of feet out from the cab. I'm not as fond of that in the cans, when we're cutting, but always like the sound on the record when he's done, so I go with it. On rare occasions, I will flip the cab around and stick the low mike above the speaker through the cutout, or I'll unplug the bottom motor. Sometimes a track needs more low end, but needs it to be clear and more direct sounding. Don't rush me. I'm playing as slowly as I can! http://www.stevenathanmusic.com/stevenathanmusic.com/HOME.html https://apple.co/2EGpYXK Link to comment Share on other sites More sharing options...
loumi Posted February 10, 2009 Share Posted February 10, 2009 Great info, thanks Steve! Lou --------------- To B-3 or not to B-3, that is the question. Link to comment Share on other sites More sharing options...
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