From tsellers@knology.net Sun Mar 18 18:12:33 2012
Subject:Re: Chicago in Chicago: XK3-c

Years ago the Alabama Jazz and Blues Federation (I was either Pres or VP and in charge of a festival stage) had Charles Earland as our closer for the evening. His rider called for a B3 and we had the backline company provide a B3 and a Leslie 147. He played on the B3 for about 3 minutes and then got his XB2 and Korg M3 off of the van saying that the B3 was unplayable. I had played it on a set earlier with a blues band and I thought it was OK. I guess the point is that there is so much variation that one players "playable" B3 may be another players "unplayable" B3 depending on the maintenance and sound of the individual instrument, and the level of expectation. Generally with an electronic clonewheel you know what you are getting. YMMV

But let's face it: The newest B-3 anyone can get there hands on is
approaching 40 years old. Some of them are pushing 60. Parts are
getting harder to find, as are qualified techs to keep 'em running. Big
acts may be able to demand a B-3 in their riders, but there's still a
question of what shape the rental organ will show up in. Switching to
clones eliminates some of the risk: The best-kept 'Bs that I've ever
played are superior to any clone out there. The worst-kept ones,
though? I'm not so sure.

And I agree about mic'ing the Leslie: always a crap shoot on a stage.

Regards,

-BW

Bruce Wahler
Ashby Solutions.com™
bw@ashbysolutions.com
http://music.ashbysolutions.com
877.55.ASHBY (877.552.7429)