From goff747@aol.com Thu Jan 22 08:05:55 2004
Subject:Re: DigitalTonewheelsKeycontactsGeekfest (was:Hammond...not HS)


In a message dated 1/22/04 8:55:19 AM, schultz@fig.cox.miami.edu writes:

<< >--- In CloneWheel@yahoogroups.com, goff747@a... wrote:
This is what gives the B3 that special quality in that a chord can

be massaged

> into sounding different with only certain harmonics added to a

triad's

> configuration by adjusting the pressure on any of the fingers

pressing the keys. ( a

> clone would which is all tones at once no matter how soft or hard

you press

> the keys.)

So . . . in other words, if you're holding a chord, and you then

lift up some finger slowly until you just reach the trigger point

but don't go past it, then some of the tones for that note will drop

out at random, and you never know which tones you'll be left with. >>

Its not that simple. Sound is too complex to be in control of the whole thing
always. It may seem like voodoo but if you listen fast enough you can discern
that the tones in the chord change and just by second nature you can vary the
nuances of the chord you're playing. Harmonics may be random but just as in
playing a stringed fretted instrument, a chord wavers as harmonics beat, you
can adjust the overall sound by finger pressure. With so many things going on,
the harmonics in the chord you're holding, the Leslie on chorale, phase
shifting the entire sound, you can play within all those sounds and by lifting the
right fingers ever so gingerly within the chord, you get to know the secrets of
the B3.