From goffmac747@aol.com Mon Mar 19 12:53:37 2012
Subject:Re: Chicago in Chicago: XK3-c

Yeah I agree on your primer point. Everyone has their preferences.To
some it doesn't matter. I was answering the "get what he needs"
statement.

Many of us are still running around the block, many have yet to start
the run. As to why a known star would be seen playing a clone, the
reasons are many and not just aesthetics. It could be a combination of
many reasons. But experience has shown me personally that an act asks
for a B3 but brings their clone just in case. If the B3 is available,
in good order, the clone is set up in case the B3 fails. But the B3 is
played. Its aesthetics to this player. Same reason they ask for two
Leslies for the show, one as a spare. They have learned the hard way to
qualify the vintage gear to see if it in fact works. I've witnessed a
manager of a current name act throw a fit when testing the B3 rig,
Their own sound guys bumped the volume knob on the Leslie down to about
two as he set up a lower rotor mic, keyboard tech comes on the B3,
manager stands next to the Leslie to see if its going to fire up.
Keyboard guy pumping the expression pedal, pulling bars to get the
volume up, no volume. Manager throws something he had in his hand on
the stage floor in anger shouting "sh$t", keyboard tech guy tells
manager to turn up Leslie amp volume, bang, Houston we have lift-off.
Manager was stressed but pleased, a little embarrassed I imagine.

Then there are those that don't ask for a B3 but ask for a clone, even
if there is a quintessential Hammond solo in the classic famous song.
YMMV

Gf

-----Original Message-----
From: Bobby Simons
To: CloneWheel
Sent: Sun, Mar 18, 2012 9:14 pm
Subject: Re: [CWSG] Chicago in Chicago: XK3-c

 
Thanks for the primer, pretty sure that we get all that. Most of us
have been around the block a few times. A few too many times, some of
us.
My point remains: if someone comes to a show and sees me making big
organ noises with no B3 on the stage, they would be mistaken to think
that I'd be using one if made available to me. (At least, with some of
the bands I play with.)

Regarding 'aesthetics': it's more valuable when applied to what you
play, not what you play it on. That's MY primer. ;-)

On Mar 18, 2012, at 6:50 AM, Goff Macaraeg wrote:

> The way concert production works, the artist asks for gear in
their
> riders. . . . .

> To add to this, there are times when the artist needs a clone in
cases
> of multi-keyboard layers and a B3 is not essential to the look or
sound
> of the act, the sideman-keyboard player opts for ease of movement
over
> aesthetics. . . .

>> From: Bobby Simons <bobbysimons@optonline.net>
>>
>> Nothing sad about it, if that is what he chooses to play, and
that
>> where he finds what he needs.
>

Bobby Simons
bobbysimons@optonline.net
AIM: patentdraw

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