From carl@vanselman.com Sun Feb 16 03:51:11 2003
Subject:Re: To "Infinity" and beyond! (long post)

I use a Korg Trinity and an Electro 73 as part of my giggling rig. To follow your theme of what other things do we have to overcome - the Trinity has a very polished (overproduced?) sound that is very easy to have at high volume without changing the tonal quality of the instrument and without getting my soundman to complain about 'those bass frequencies'.

The Electro's sound quality changes a great deal between normal practice volume and giging volume - perhaps I can explain that better. You get an Electro sound that sounds absolutely wonderful at home and then the same drawbar config at giging volume sounds harsh and plastic, so you play with the drawbars as you play and get a sound that is much better at the gig. The next day you try the same config at practice and its horrible. With the Trinity this difference in tonal quality doesn't change with volume.

So - what do I do to try and balance this out? I play the Electro through an Alesis stereo Nanocompressor, this is a small unit with simple controls and most importantly 'cheap'. I use the unit to A) level out some of those high volume peaks from the piano sounds that make me (and my soundman) wince and B) give a slightly compressed sound to the organ sounds. This means that if I play a big chord the volume gets compressed but if I play single notes the sound/volume is not compressed. My Electro signal then goes into an ART duel MP (that I got from this list recently - thanks Thomas!) this warms up the sound just a little and help round of some of those nasty ear piercing highs that you can get as well as contributing to a bit of valve compression in it's own right. The signal then goes into a small spirit mixer that also handles my Trinity (both in stereo) the main outs go the soundmans desk and the monitor outs to my backline stereo amp. I use the FX loop to add a bit of reverb from an Alesis microverb into my backline but the main signal to the soundman is dry. The result? - not bad, I think I get a good organ sound live and it can be improved but contrary to some folk on this list I couldn't use the Electro without any outboard treatment, the volumes I play at (avec earplugs!) need the Electros signal to be completely predictable and controllable.

Carl
----- Original Message -----
From: analogman10502
To: CloneWheel@yahoogroups.com
Sent: Saturday, February 15, 2003 6:47 PM
Subject: [CWSG] To "Infinity" and beyond! (long post)

---glad I caught your attention---
Everyone (myself blatently included !) seem to be stuck with
achieveing that "authentic" sound, i.e., of a REAL b3 with a REAL
leslie. It seems that, to varying degrees, all clone/preamp/speaker
combinations come pretty close, in most respects. However....
we are living in 2003...and I think, given all the technology and
options available to us, we should try to go BEYOND what was the
established "Hammond" sound and develop sound combos/techniques for
addressing a lot of problems and limitations of playing organ, in
general.
Let me throw out the ball with this idea: I am constantly frustrated
by the uneven sound which most clones, as well as the "real thing",
tend to have. This is especially true when voicing chords in the
differnet regsiters; and it seems much more pronounced, and complex,
than issues related to playing chords on a piano.
I'd like to know if anyone has had any luck with ANY type of outboard
equalizing, either traditional or parametric etc...
Also....what other "effects" are you guys/gals using; AGAIN, I'm not
trying to turn a clone into a Korg Triton///// I'm simply looking for
the best "playing experience".
These are all issues that traditional pipe organists are always
struggling with....playability in different registers, blending of
manual stops, etc.
SORRY FOR THE LONG POST....
What are YOUR thoughts??????
Tom

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