From PPrevite@ma.slr.com Thu Nov 14 12:41:58 2002
Subject:RE: Perspective

Hmmm.....
Attack?
Tone?
"live" sound?

I get it all with my CX-3!

-PJP

> -----Original Message-----
> From: Mark Longo [SMTP:mlongo@highmarkdesign.com]
> Sent: Thursday, November 14, 2002 2:16 PM
> To: CloneWheel@yahoogroups.com
> Subject: Re: [CWSG] Perspective
>
> Like others, I have had the experience of laboring literally hundreds
> of hours over various clones and preamps, Leslies, programming,
> tweaking settings, etc. Then simply fired up my '57 C-3 after a long
> layoff and found that it's SO far past any clone in terms of pleasure
> to play, it's almost silly. Glorious joy right out of the box; no
> muss, no fuss, just turn it on and play. Yes, clones ARE cool! But
> in terms of the pure unadulterated pleasure of playing an instrument,
> the clones aren't even in the ball park with a B-3, nbo patter
> how "close" we may think they sound.
>
> OK, so what?
>
> The interesting question for those of you who have had the experience
> I describe above, WHY? Why is it so much more fun to play your B-3
> (or is it)? We can probably all agree that the B-3 has a certain
> magical mystique. OK fine. But why exactly is it so much fun? What
> are your top 3 reasons?
>
> Here's my take, I'm definitely interested in hearing your others...
>
> 1. Attack-attack-attack. The attack portion of each note is so
> freaking GUTSY. The percussion is fat and very authoritative without
> having to be loud, the keyclick is meaty and seems to sound different
> on every note you play (personality, baby!), and my old C-3 seems to
> give a slight -ooof- sound underneath the attack segment of each
> note. Every note you hit in a lick seems to JUMP out of the Leslie
> and give you a cold slap. Hit the chorus tab and mutiply all of the
> above attack stuff by 2. It's soooo fun.
>
> 2. Tone-Tone-Tone to burn. The overall tone of the notes is SO broad
> and juicy. Turn off the chorus on slow Leslie and the tone is richer
> and smoother than fresh butter at the dairy. If notes like these
> were a pillow, you'd sink out of sight. Hit the chorus and the notes
> crunch like a new bag of Ruffles under a slow foot. And that amazing
> tone is the same from the lowest not to the highest note. The full
> range is balanced, not muddy low down, not harsh high up. Just
> sweet, full, and punchy, cheekblock to cheekblock.
>
> 3. IT'S ALIVE. Playing a B-3 is an interactive experience. I play
> some notes, and somehow the instrument itself seems to suggest the
> next notes I should play. Maybe it suggests I take things a little
> farther, or maybe play something entirely different. But the point
> is that as I play this big solid beast, I just get lots more ideas of
> what I want to play next than I do with any clone. It's not
> mystique. It's real. Maybe it has to do with the fact that many of
> the notes sound a little bit different, giving the impression that
> the instrument is alive. I've had this same experience playing a
> real Rhodes too. The thing just feels more responsive, more
> interactive.
>
> I could go on, of course, but I asked for 3 things, so I'll stop
> here. Some of the folks often say how awesome the "real thing" is
> and how clones are always a compromise. OK, maybe that's fair. But
> it seems that those of us who feel that way should at least say why.
> Maybe people who haven't yet had the opportunity to play a big
> console are interested in like: "what's the big deal anyway?"
>
> Like most of us here, I play the B-3 clones. I like them. I have a
> LOT of fun gigging with the various clones I've used. Making music
> on any instrument can be a great time. But yah, when it comes to
> organs and the "pleasure factor", the big Hammonds are in a class
> alone.
>
> Mark Longo
>
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