Mojo with the Mojo ...

[Delaware Dave]

I've played this song 100s of times on a real Hammond.   Jim Sotis does a great job recreating the vibe on the Mojo using its internal leslie.   Jim use to play in a Skynyrd Tribute band and that is how i came to discover him years ago. His leads are always accurate to the original song. The hammond/leslie tone is very close to the real deal.  Cut to the chase (it's a long song) and go to 6:20 in the video for his lead.

 

 

[Outkaster]

Good player and phrasing also.

[Old No7]

Oh yeah, now we're talking!

 

I'd bet Elizabeth Reed -- and Gregg -- would both be really pleased with that!

 

Old No7

[Old No7]

OK, I was curious about who "Elizabeth Reed" was...

 

...And some things you just don't want to know -- relaxing, writing songs and getting it on -- in a graveyard???

 

Dang, one more addition to my growing bucket list!

 

Old No7

 

"In Memory of Elizabeth Reed" was inspired by a woman Betts was involved with in the group's hometown of Macon, Georgia. She was the girlfriend of musician Boz Scaggs, with Betts later saying she "was Hispanic and somewhat dark and mysterious—and she really used it to her advantage and played it to the hilt."  To cloak her identity, the composition is named after a headstone Betts saw at the Rose Hill Cemetery, where band members often ventured in their early days to relax and write songs.  Considerable legend developed about the piece's genesis and what Betts was doing at the time, much of it fueled by a put-on interview band leader Duane Allman gave Rolling Stone.  "Duane told some crazy sh*t about that graveyard. I don't wanna tell all—but that's the part that matters," Betts later said.  For his part, vocalist Gregg Allman was candid about his experiences in the cemetery: "I'd be lying if I said I didn't have my way with a lady or two down there."  The cemetery later became the final resting spot of Duane and Gregg Allman, along with bassist Berry Oakley and drummer Butch Trucks.

[ABECK]

Note for note on the solo.  Well done.

[drawback]

I'm not usually a fan of that much reverb, but it really works to smooth out and add some "girth 😉" to the Mojo sound. Kudos to the player, the band and the sound tech!

[HammondDave]

Great performance. Growing up in Ft. Lauderdale in the 70’s I grew up with the Allman Brothers. They were pretty much a local band and they used to play several times a year in South Florida. When I was a teenager my band covered dozens of ABB songs, including “Elizabeth Reed”. So I can play this solo in Yiddish, backwards. I know this is nitpicking, but there is only one thing he gets wrong, and that’s the closing three chord hits at the end of his solo (8:15). I don’t believe he is playing it exactly right. The voicings should be (C E) (D F#) (G B). Also, the drawbar registration he uses is much too thick for this. It should be something like 664003388. But that could be because of the mix.  Other than that, great job!

 

Just found this video.  At 5:18 of this video you get a pretty good look at his chord voicings and what Greg’s registrations are. He switches to his Bb preset which has some pretty heavy top drawbars. You can see him push some of the middle ones in during that part  

 

[HammondDave]

I don’t know why some people diss the MOJO 61.  Just listen to this!  Also, the keyboard action is the closest to a real Hammond console. It’s a pleasure to play this board. 

[kpl1228]

1 hour ago, HammondDave said:

I don’t know why some people diss the MOJO 61.  Just listen to this!  Also, the keyboard action is the closest to a real Hammond console. It’s a pleasure to play this board. 

Didn't know anyone dissed it. I absolutely love mine.

[Delaware Dave]

2 hours ago, HammondDave said:

Great performance. Growing up in Ft. Lauderdale in the 70’s I grew up with the Allman Brothers. They were pretty much a local band and they used to play several times a year in South Florida. When I was a teenager my band covered dozens of ABB songs, including “Elizabeth Reed”. So I can play this solo in Yiddish, backwards. I know this is nitpicking, but there is only one thing he gets wrong, and that’s the closing three chord hits at the end of his solo (8:15). I don’t believe he is playing it exactly right. The voicings should be (C E) (D F#) (G B). Also, the drawbar registration he uses is much too thick for this. It should be something like 664003388. But that could be because of the mix.  Other than that, great job!

 

Just found this video.  At 5:18 of this video you get a pretty good look at his chord voicings and what Greg’s registrations are. He switches to his Bb preset which has some pretty heavy top drawbars. You can see him push some of the middle ones in during that part  

 

Not to drive this topic too far off topic but if you are going to improvise the song is their anyone better than doing it other than Jon Ginty? I love the way he builds up his leads.  7:40 mark for the start of the lead.  (listen to the crowd reaction to his lead). Also note the vintage vibe and the bass player Tal Wilkenfeld.

 

 

 

[Jazz+]

What's the setting for that particular tone?

[Delaware Dave]

3 minutes ago, Jazz+ said:

What's the setting for that particular tone?

 

At the end of the lead Greg switched to 2nd harmonic percussion which has a tonal impact.

[Delaware Dave]

8 hours ago, HammondDave said:

I don’t know why some people diss the MOJO 61.  Just listen to this!  Also, the keyboard action is the closest to a real Hammond console. It’s a pleasure to play this board. 

 

Probably due to early quality issues (some real, some perceived).  Tonally Guido nailed it and the C/V is spot on.  Sounds as good as any clone out there and probably the least expensive of the top tier organ clones.

[Bill H.]

4 hours ago, Delaware Dave said:

   Jim Sotis does a great job recreating the vibe on the Mojo using its internal leslie.   

 

Very impressive that you can get results like this by just plugging a small keyboard into a sound system! The simplest of all setups. I had no idea the Mojo's Leslie was this good. 

 

Also impressed that a band with two guitars and three percussionists gave the keyboard player this much sonic space. Well done gentlemen. 

[Jazz+]

I agree the action is right away very playable. I can't seem to manage as well on the other brand's actions.

[HammondDave]

6 hours ago, Bill H. said:

 

Very impressive that you can get results like this by just plugging a small keyboard into a sound system! The simplest of all setups. I had no idea the Mojo's Leslie was this good. 

 

Also impressed that a band with two guitars and three percussionists gave the keyboard player this much sonic space. Well done gentlemen. 

oh yeah! The MOJO’s internal Leslie is outstanding!  Love my MOJO!

[Adan]

That's a top notch cover band. Great example of a clone sounding spot on authentic.

 

The note-for-note approach is an interesting choice. I just happened to see a popular touring Eagles cover band yesterday evening that does the same thing. It's the logical extension of the tribute concept and probably maximizes income associated with the project. I think it's sad to not keep at least a small pocket of creativity if playing in a tribute band, but that's me. I would probably retain some of the more memorable original licks and improvise around those.

 

I can't recall anyone on this forum saying the Mojo doesn't belong in the conversation about the best-sounding clone. The weaknesses are the objectively indisputable ones -- only one set of drawbars, etc. , which will matter to some people and not at all to others.

[HammondDave]

42 minutes ago, Adan said:

That's a top notch cover band. Great example of a clone sounding spot on authentic.

 

The note-for-note approach is an interesting choice. I just happened to see a popular touring Eagles cover band yesterday evening that does the same thing. It's the logical extension of the tribute concept and probably maximizes income associated with the project. I think it's sad to not keep at least a small pocket of creativity if playing in a tribute band, but that's me. I would probably retain some of the more memorable original licks and improvise around those.

 

I can't recall anyone on this forum saying the Mojo doesn't belong in the conversation about the best-sounding clone. The weaknesses are the objectively indisputable ones -- only one set of drawbars, etc. , which will matter to some people and not at all to others.

I totally agree. I am sure he knows what he is playing and chooses to use the fuller chords for a more powerful transition to the guitar solo.  Funny that in the Allman Betts Family Reunion video above Jon Ginty (in his excellent solo) uses a similar technique. Although his solo is truly his own and much more powerful than the original, he still incorporates the signature phrases as the original.  IMHO, it’s the musicians’ choice, even in a “tribute band”.  

[APP]

Can anyone chime in on optimizing the Mojo Leslie settings to get "that sound" we all crave...

[Jazz+]

Warning, a controversial opinion:

I turn off the Mojo Cabinet and Stop the Rotary. Like Brian Auger, I am not a fan of the Leslie sound. I also use the cleaner C2 Chorus and turn down the Percussion and the Chorus levels  to 32 instead of the default 64. I prefer this milder level a lot. I use the 2nd for the Percussion, also like Brian Auger. I get a great “Sermon” tone with a little bit of tube over drive. It works very well for jazz. Clean, clear, and full bodied. I get seasick with a rotor and with full strength on C3 and 3rd. I play 88800000. I also use the oldest model the 1956 B3. I am finally getting the type of organ tone that helps me psychologically when I’m soloing. It sounds noble. Was it Don Patterson who also played such a clean tone?   It’s taken me 5 years to arrive at this ideal personalized sound. I stopped playing my Mojo when the Chorus  and Percussion were at level 64, I hated those levels. And that Leslie swirl… no thanks.

[lsj]

we all have opinions

[Delaware Dave]

12 hours ago, APP said:

Can anyone chime in on optimizing the Mojo Leslie settings to get "that sound" we all crave...

 

In the video are the delivered leslie settings.  He received the keyboard that afternoon and played the gig that night so he didnt have time to adjust anything.  From his facebook page

 

 

[mrk7421]

I have the Mojo desktop....and also have several other modules including Viscount ...and HX3. I am  similar to Jazz +.....I do not use the Leslie sim and have never quite come to terms with it. I really do like the Mojo without Leslie sim.. instead I use  C3 chorus vibrato. The model organ I use on the Mojo is 1973 C-3....I have a very rare Hammond 1973 B-3 so I am used to the sound of a mylar cap tone generator. My B-3 was used as rental to Billy Preston ,Joey D., Dr Lonnie ,Tony Monaco and many others.                                                                                                                                                                                                         I especially got comments from Joey and Tony that it was rare to run into a late model Hammond without issues.Billy  Preston offered to buy it but he wanted to trade me a 1955/56 period B-3. He said he was looking for that sound of a later Hammond but that good ones are hard to find. Anyway ...the Mojo desktop really nails that sound and of all the clonewheels I have, the thing that helps make it sound authentic is the overdrive which is very natural sounding. Occasionally I regret not taking up Billy on his offer because I would imagine having Billy's instrument might bring monetary value ....but I guess I will never know.

 

[mrk7421]

Jazz + also mentions Don Patterson's sound. I am also a big fan of Don Patterson.....just listen to his touch on cuts like Easy to Love with Sonny Stitt. I got to meet Pat Martino on a Joey D. rental and really picked his brain for anything he could tell me about Don Patterson. His memory was not entirely clear but he said Don was a true genius and was his favorite organist. It's so sad that Pat,Joey ,Dr Lonnie etc. are all gone now. I was so lucky to meet them through the rentals ,a lot of which happened through Tony Monaco and Sal Azzerelli...who is also gone.                                                                                                                                      I seems to me that Jazz+ is trying for a more shallow C/V sound similar to B-2 or C-2.On the Mojo I also turn percussion levels way down and almost always use slow decay at about 95. I hear Don Patterson using what sounds to me like slow percussion decay.                                                                                         I apologize for what might seem like too much name dropping but it was just such an experience to meet and work with some of these people. I just feel like I have to share it. 

[Jazz+]

Thanks mrk7421

 

I just tried the 1973 C-3 model, I'll use it. It has great clarity and balance.

 

My other settings are:

Soloing drawbars 858000000, comping 707000000 (Perc. Off), Bass split 848000000 

C2 (Level reduced from 64 to 32)

Percussion (Level reduced from 64 to 32) 'Slow' adds more clarity, '3rd' Off.

Cabinet Off, Rotary Off, Drive at 10:00 a.m., EQ at 12:00 Noon, Reverb at 10:30, Click at 12:00 

 

Fender bass amp