I-missRichardTee Posted December 7, 2013 Share Posted December 7, 2013 In 1973 I owned a great sounding B3 and Leslie . This thread is all about Clonewheel players esp without a Leslie, dealing with the absolutely vital need of these effects Leslie speed variations, chorus variations, distortion etc. I once took my killer B3 and played it through an amp ( no Leslie ) and was unpleasantly surprised.. did not like it at all. If I sustained a sound on a B3, esp with my failed amp experiment, I found this very important point.. the sound of a B3 that is not varied, but just sustained "as is"... after x amount of seconds, sounds awful. I believe the sound of the best B3, if sustained for x minutes, and WITHOUT CHANGING IT in ANY WAY ( no Leslie on off slow ) ( No change of drawbars ) ( No change of vibrato/chorus ) THAT sustained sound, could be used to torture people.. so to speak. A love hate relationship to B3... as long as there is variation in sound, all is wonderful. B3 is a screaming beast, that absolutely must be constantly kept under control, not only with note choices.. rhythms- what all other instrumentalists deal with, but with these effects, most notably Leslie. All of this to say,when playing a clonewheel without a Leslie, these famous B3 effects become exaggeratedly vital for me. My new Mojo, is one of the closest experiences to a real B3.. so esp without using a Leslie, my focus is on all manner of subtle and not so subtle VARIATIONS, of tonewheel sets, C3 speeds, leslie variations, distortion, and reverb, not to mention Expression pedal variations if possible. I want any clonewheel I play to make this EFFECTS and their VARIATIONS, extremely varied and facile experience. This is why I like the CX3 though it is not as realistic as newer clonewheel's! You don't have ideas, ideas have you We see the world, not as it is, but as we are. "One mans food is another mans poison". I defend your right to speak hate. Tolerance to a point, not agreement Link to comment Share on other sites More sharing options...
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