From giuliomoro@yahoo.it Fri Aug 26 03:33:01 2016
Subject:Re: Hammond XK-5 and 3 Contacts
That's funny, thanks for pointing it out.I actually think that 2mm between each contact (as mentioned by someone on the list recently) was a bit too much. On the C3 I tested, contacts would all trigger within ~1mm
Giulio
From: "Mitch Towne mitchtowne@cox.net [CloneWheel]"
To: "CloneWheel@yahoogroups.com"
Sent: Friday, 26 August 2016, 6:48
Subject: Re: [CWSG] Hammond XK-5 and 3 Contacts
I'm really looking forward to trying the XK5.
One personal observation:
One of the ways that Hammond has featured the key contact separation in their promotional videos is to have the player perform a light glissando. Not all the tones fire. Very impressive. However...I happened to be sitting at my 1956 B3 when I watched one of those videos and attempted to replicate the same effect. No matter how lightly I did the glissando, I didn't get near the separation on my B3 that they achieved in the video. Most of the tones still fired. My wonder is if the contact separation is to wide. But, that question will get answered when I actually get to play one.
Mitch
On Thursday, August 25, 2016, Bruce Wahler bw@ashbysolutions.com [CloneWheel] wrote:
I play Hush in my band, too, and it seems that I have to pay a lot of attention to the slapping to get it right. I don't remember having to work that hard when I lugged around a C-3.
I don't know how much the third contact really improves things -- and at what cost. if there was say, a 3-contact Hamichord or DMC-122, and it only added a couple hundred bucks to the price -- I'm making all of this up, so don't go grabbing your credit cards -- then it might be an interesting proposition. But $2000? That's way beyond my curiosity level! ;-)
KeyboardPartner's HX3 is capable of triggering all nine DBs separately -- but not through MIDI; it requires a direct-wired interface. So maybe there is a 9-contact UHL X3 or MAG P-2 available? That should be about as close as one can get. (I couldn't tell from either products' website.) I wonder what they cost?
am Regards,
-BW
Bruce Wahler
Ashby Solutions.com™
bw@ashbysolutions.com
http://music.ashbysolutions. com
978.597.7008
On 8/25/2016 2:25 PM, Craig MacDonald ccmacdon@rogers.com [CloneWheel] wrote:
Bruce,
Hush is a perfect example, and I play this song regularly.. So I look forward to trying this percussive technique on an XK-5 to see if it really does sound more authentic and, hopefully, it feels more authentic/playable (combining the feel of the keyboard with the 9 virtual contact scheme triggering tones more authentically). I'm really curious to see how different it is.. (But is it $2000 better? That's a whole other question).
Craig
Sent from my iPad
On Aug 25, 2016, at 2:20 PM, Bruce Wahler bw@ashbysolutions.com [CloneWheel] wrote:
Actually, I've heard the specific example you mention on a few old recordings by the Rascals and Vanilla Fudge. If a note is pressed slowly (and carefully), it's possible to bring the nine DBs in one by one over a period of about 1/2-1 second. It kind of sounds like pulling in the DBs, except that it isn't so gradual. The first time I heard it, I said, "Wow! How did he do that?" It's obscure, but musically useful in slow tunes.
But that's not the most useful part of nine contacts. If one slaps the keys on a console Hammond, sometimes all the contacts on the key are struck, but not always. The result is a very random, animated sound that is fantastic to my ears. One of the best examples is the intro to Deep Purple's 'Hush,' but there are other uses. On my NE3, without the nine contacts, the same part sounds good, but not *quite* as good.
Regards,
-BW
Bruce Wahler
Ashby Solutions.com™
bw@ashbysolutions.com
http://music.ashbysolutions. com
978.597.7008
On 8/25/2016 11:31 AM, Jack Lyon jack.lyon@comcast.net [CloneWheel] wrote:
On 8/25/2016 4:08 AM, Daniel Forró danforcz@yahoo.com [CloneWheel] wrote:
- each of three physical contacts switches on in different point during the pressing the key, so delay fully depends on the player and his/her playing style
I've been playing the Hammond for 50 years, and I don't think I have ever played in such a way that there's a pause between contact points, or so that only a few contact points are made while the rest are missed. And I really doubt that anyone else plays this way either. Listening to recordings of all the great players, I've never heard it. Have you?
I think the excitement about multiple contacts (virtual or otherwise) is much ado about nothing. Am I wrong?
gr
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