From NJmm973@aol.com Mon Oct 19 19:23:03 2009
Subject:Re: Ventillator effect on persussion?

I know exactly what you both mean. Sometimes I just avoid certain parts of the keyboard because its too shrill or too much muddy bass. I'm really looking forward to getting my hands on this.

Gene

-----Original Message-----
From: Christian Schonberger
To: CloneWheel@yahoogroups.com
Sent: Mon, Oct 19, 2009 5:09 pm
Subject: Re: [CWSG] Ventillator effect on persussion?

Yep, I second that. I can concentrate more on the playing and I can change the
drawbar settings more freely because I don't have those "avoid settings" or
"avoid notes". It all sounds much better. This box is the best piece of hardware
I bought in a long time. I admit that I was rather disappointed when I first
played the XK-3. I hot-rodded it with Mullard tubes which mader it more
bearable. The Ventilator basically saved it. I just didn't sell it because I
would lose a lot of money - and the XK-3c is not that huge a leap forward to be
worth buying for an XK-3 owner, especially with the Ventilator to "fix" it.

Christian


--- On Mon, 10/19/09, tfosselm wrote:



Some people like the tremolo effect, some like the drive etc. What I like best
about this box (and am most surprised by) is that it works the same kind of
magic on harmonics and fundamentals that a real Leslie does. Let me attempt to
discribe what I'm talking about ... using the Nord E3 with it's internal sym I
had to carefully EQ the unit to get a great sound out of a certain range on the
keyboard. To me, I had a good 2 1/2 octaves to work with. The highest half
octave was a little too shrill to use and the bottom 2 octaves sounded too
bassey to use (the percussion was totally buried down there). The Ventilator
smooths out the top 1/2 octave (without reducing the 'scream factor' of a real
B3) and it somehow balances out the keyboard so that I can now use all 5 octaves
without it starting to sound like something other than a 'real' B3 (or A100) in
all registers.
Hopefully a few people will understand what I'm trying to say. I don't know how
to explain it any better except to say that I can now concentrate more on my
playing instead of consentrating on how to play a solo that sounds good without
going outside my 2 1/2 octave 'sweet zone'.

.



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