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Topic: Hammond B3, oh so good...< Next Oldest | Next Newest >
Scatterplot Offline




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Posted: April 21 2009, 13:31

Still moving, but I found time to hook my keyboard controller(Kawai K4) midi out to midi in of my Oberhiem and to mixer, using only headphones. My Emu Proteus2000 does a great Hammond B3 with a knob that controls stereo imagery staggeringly. But I have to say the FATTEST most realistic B3 sound ever copied was by Oberhiem. My Oberhiem Matrix 1000 has several Hammond B3 presets on it. 2 of them(at least) are so FAT as in PHAT(pretty hot and tempting), who would want a real B3 to lug around? I want to hear from keyboard players. Especially who have an Oberheim product. I love synth sounds, but the classic sound of a B3 with Leslie stereo FX drives me nuts. It gives rock music an edge. Feedback?
Jim


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Dirk Star Offline




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Posted: April 22 2009, 04:27

I don`t know about the Oberhiem Jim,but there are a fair few digital versions available now which are supposed to get pretty close to the B3.There is even a portable/digital B3,which I know was recommended by the late Jimmy Smith.I think their most recent one(Hammond) is the XK3,which is getting a lot of high praise.And of course the great thing is you can carry it under your arm.From what I`ve read the Korg CX3 is maybe a good cheaper option,which recieved a lot of good reviews.And I think a lot of the modern Hammond players also use either Rotosphere or Barbetta as an alternative to the Leslie.Apparantly a real Hammond B3 has around 17,000 parts in it or something.. :O

Anyway I love that whole sound of the B3 going through the Leslie speaker.Great big fat left handed chords and arms sliding up and down the keyboard etc.There`s nothing quite like it imo.My wife plays a little bit,and she won a fair few awards/competitions when she was younger.We still have a great big Farfisa in the room here right next to the computer.It`s kind of more "cheese" than rocking in truth.But it still sounds pretty cool when you crank it right up with some distortion/overdrive.I can`t play it to save my life mind..Requires way too many limbs,..and skill.    :p
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ex member 419 Offline




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Posted: April 23 2009, 02:11

:p hey jim and dirk arent the oberheim, hammond and korg cx3 brill! danni my daughter has done some recordings with brian canham and pierre frow pseudo echo, they use the rolands seen in tb2@3, still doing the circuit, deb
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ex member 419 Offline




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Posted: April 25 2009, 04:51

:cool: remember when the first moog synths came out? really phat sound, my friend blew out a window! too much reverb! deb
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The Caveman Offline




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Posted: April 27 2009, 09:33

Wish i was around back then.I really love Moonweed (aka Tim Blake)from Gong's synth stuff.All that fat squelchy sounding stuff.Ok some sounds like farting in a bath but for pure 'far out man' stuff you can't beat the Moog!
 The Hammond is a wonderful thing too.Never had the chance to play with a real Hammond player but i'd love too.The problem is the Leslie speaker.The only way to get that real rotary sound but they are huge things that way a ton! :laugh:


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Posted: April 27 2009, 20:04

:p the leslie speakers are way heavy,even the speakers i set up for dj work need up grading 60 kg each, good sound, hell to put on stopes! anyone offering to be a roadie? deb
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The Caveman Offline




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Posted: April 28 2009, 09:56

And people wonder why i started a small acoustic treo.Lol.
Roadie's have to have a special pair of jeans made to exposed the regulation 2 inches of bum cleavage.It's in Ye Ancient Roadie Handbook.In the UK builders also wear these. :laugh:


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Scatterplot Offline




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Posted: April 28 2009, 11:34

I like a small portion of ELP's music, most of it was too stretched(too much bread and not enough butter) for me, and relied on Emerson's keys too much, not enough guitar. But one funny as hell image will always be with me. Emerson wanted to be cool, so he rocked his organ back and forth until he got trapped under it and one of the crew had to get him unpinned. That's funny. Jon Lord(Deep Purple) used to do the same thing, but from pics and videos he seemed a lot taller and stronger than Keith. I guess that's why I never heard of him getting "pinned by an organ"....sounds like wrestling hehhh. Or did he? Oh well I thought it was funny. Sometimes trying to be "cool" makes you look like a fool. I think keyboard players should remain dignified. Case in point: Tony Banks. Always seated, focused. I like that. And his music and his band was better too....Oh yeah, Richard Wright(RIP), focused and seated, that's cool by my definition. You are the founder and musical foundation of an art-rock band's sound. That's cool by itself.

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Posted: April 28 2009, 21:41

:p yo caveman, smart move, lol roadie butt cracks! we have builders with that trait in aus,@ scatterplot i love elp, bet that guy stopped rolling under instruments, but b....funny all the same, have a good day my texan pal! deb
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Dirk Star Offline




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Posted: April 29 2009, 05:36

Jim,I`m right with you on ELP there,those guys were crying out for a "proper" guitar player imo.I guess they probably thought there were enough "big egos" in there already I suppose.And of course it did make them unique in some respects for the time.But I actualy prefer to listen to The Nice than ELP,who of course did have a guitar player.Albeit not a very good one admitedly.But coupled with keith`s Hammond you can kind of hear what ELP could`ve been for me but never quite became.I get kind of the same feeling listening to early King Crimson as well.

I think I first started getting into Hammond players listening to Ian McLagen on the early Small Faces records many years ago now.And then it was probably Tony Kaye on the first three Yes albums who really took my interest.Looking Around is still one of my favourite songs with a great big hammond riff in it.Plus all those "sunshine" harmonies,and Chris Squire`s rumbling bass,that song never gets old for me somehow.Despite the fact it sounds so dated I guess.

Then around about the mid-late 80`s over here,there was a kind of underground movement called the Medway scene.Where a number of young bands who were heavily influenced by people like the Small Faces & 60`s garage music really took my interest at the time.Unfortunalty it never really took off in the way that Britpop did a few years later.But a lot of those guys made some really exciting and fun records I felt.And then out of one of those bands(The Prisoners) came a guy called James Taylor(not the aor/you`ve got a friend dude).Who recorded a lot of revved up mod type versions of things like Mission Impossible,Blow Up and The Cat etc.Anyway Taylor has done all kinds of stuff since then,not always to my tastes I must admit.But he`s still probably my favourite and most consistent hammond player that`s out there.And it was through Taylor that I got into people like Jimmy Smith,Jack McDuff,Jimmy McGriff and Charles Earland etc.As well as a lot of old library and soundtrack music,and hammond players such as Alan Hawkshaw who is another favourite of mine.I mean a lot of their stuff can be quite cheesey,and just plain dull at times I guess.But when any of those guys are really "on",and in the right musical setting I could listen to them all day.And much to the annoyance to my wife I quite frequently do in fact.

In recent years the hammond has kind of been revived again through people like The New Matersounds,Speedometer and Cookin` On 3 Burners.These guys are more kind of rare/groove soul orientated,rather than the Acid Jazz based stuff of the 90`s.Kind of like The Meters or Booker T and The MG`s except much more ferocious and musicaly talented to put it simply.But yeah I love a lot of their stuff.Oh and Captain Hammond or The Men From Spectre those guys are superb.The kind of music that always puts a great big smile on my face...Play it loud!
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Scatterplot Offline




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Posted: April 29 2009, 11:34

I hear ya. The Hammond was so much more exciting than a lot of other organs. From what I understand about ELP, Lake was the guy who organized them, I think even produced them for a while at the beginning. He wasn't a bad guitar player, although on Tarkus when he finally cut into that cool electric solo, it was a little slow and rough. He was fine on bass, it's just they needed a 4th member instead of him doing double duty on bass and guitar. Its kind of like what if JP Jones was eliminated from Zep and Page did double duty. But I guess with the money they made somebody was nuts about hearing Emerson play honky tonk piano for 3 hours straight. I did like some studio things, I know it was corny but the long "Memoirs of an Officer and a Gentleman" I loved. The 1986 EL and Powell was fantastic. But I never heard a single git. Oh well. Lucky Man was only good for me in the acoustic live version. That early cheezy synth solo on the studio LP was so dumb it killed it. Bob Moog was very pleased tho.
    One more funny story about that band and I'll let them rest. One day they played at a big outdoor gig in Japan. A wire fence was used to separate the ELP crazed fans from the stage. At one point so many fans were pushing on the fence it collapsed, then hundreds of them rushed the stage. E and L ran out back to their limo/vehicle to escape, and did. But decided for a joke not to wait on P. So they left him behind to see how he would escape in a totally foreign city to them. Well, P, being young and athletic(I guess you'd have to be pretty athletic to do his job) climbed under the stage and somehow ran the hell out of there, but with no waiting car.....Hours later he somehow found his way back to their hotel and when he showed up was not very happy with the other two. What happened after that is unknown. Kind of a Spinal-Tappish hilarity to it.
Jim


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Or will they break Like the wind
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ex member 419 Offline




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Posted: April 29 2009, 22:44

:D i love the distinctive sound of the hammond, the newer organs just dont have that...whatever it is@ jim lol just picturing that guy running for his life! bet there were strained conversations the rest of the tour, fancy letting him walk! not nice,deb
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Dirk Star Offline




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Posted: April 30 2009, 02:50

I forgot all about that moog on Lucky Man heh heh,yeah it pretty much kills it dead I agree.I actualy quite like a lot of their first album,there`s a fair amount of piano on that though isn`t there?Which maybe helps for me a little bit I don`t know?I always thought Greg was a nice acoustic player as well,but like you say they needed an extra man definetly go along with that.
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Posted: April 30 2009, 06:32

Hey dirk, maybe they should have asked you to fill in, you are talented enough! deb
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The Caveman Offline




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Posted: April 30 2009, 09:00

Apparently (acccording to a keyboard player friend)Hammond have actually got a copyright for the 'Hammond Sound' so any keyboard you buy isn't,by law,allowed to do a carbon copy of the exact sound in the way they do for some other keyboard sounds.Smart move by Hammond but what if the other manufacturers did this?
 The reason i say this is that there is currently a craze for 'digital modelling'amps for guitars.They are loaded with apparently dead on replicas of  classic valve amps all created by computer.So you have your Fender models and your Marshall Plexi's (and also a MArshall JCM800 which sounds nothing like my JCM 800) et all.I personally don't like them cos they sound artificial and don't behave like a real valve amp behaves when played at anything like a respectable stage volume (and i really don't play that loud)and they don't have valves.
 If Fender and Marshall and all the other big name amp makers who these amps ape did what Hammond have done a whole industry would collapse.
I for one wouldn't mourn them.There's no substitute for the real thing and,untill someone makes a sound better than the 'Hammond Rumble' i'd rather hear a Hammond than any number of newer keyboards any day!


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Scatterplot Offline




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Posted: April 30 2009, 10:42

I would assume people like Emu or Oberhiem, when they made these synths had to pay a copyright? On the other hand......you've got me thinking now. I've got presets that say "Fender Bass", etc. Hmmm. How could they sell synths(no matter what brand) at an affordable price and pay so many copyrights. Good question. How about Kicks, snares and cymbals sampled from name brand drums......all those drum kits on all those synths. I bet somebody knows. Perhaps...lets say the Alesis people were designing a new synth, maybe they only had to pay a copyright only once to sample that cymbal/snare. On the other hand additive synthesis mixes multiple samples. It could drive one nuts figuring out the money issues on this question work.... Right now I'm futily trying to find surgical masks. Have fun!

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We raise our voices in the night
Crying to heaven
And will our voices be heard
Or will they break Like the wind
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