Conference napalm::commusic_v1

    
    The Korg you saw was a pre-MIDI organ called a CX3.  It had a single
    61-key manual, drawbars, a Leslie simulator circuit built-in and also
    controls to add the key clicking and overdrive sounds found on beat-up
    old Hammonds.  No longer made, they still pop up used now and again.  I
    believe some third party MIDI retrofits have been made.  Korg also made
    a twin manual version, the BX3, I have never actually seen one.
    
    							Brian

re: *.0 

The piano player in my group (a non deccie) has a CX3 that he's thinking about 
selling. I'm not sure if that's just talk, but if you're interested, call me 
and I'll ask him.

Geoff

You should check out non-factory organs fo rall the units you mentioned.  I've
heard some good ones.

Chad

    Although I'm a Hammond fan, I really couldn't say from any verbal
    description whether or not the Hammond sounds that I've come across
    would please you.
    
    I have a sorta "bread-and-butter" Hammond sound for my Ensoniq
    SQ-80 (and ESQ-1).  It's based on the POPORG sound but I'm not
    sure of it's origin (Probably either Voice Crystal or one of the
    collections that came with Ensoniq carts.)
    
    A couple of hints when checking out organ sounds.  Sometimes the
    beauty/utility of a patch isn't immediately apparent.
    
    I've heard brass and wind patches that sound like shit when demo'd
    solo, but sound great IN CONTEXT - that is, when in an overall mix
    
    Also, when you demo a patch, do *ALL* of the following:
    
    	1) Play the patches in ALL parts of the keyboard.  Some patches
    	   are only intended to be played in a specific keyboard range
    
    	2) Fiddle with ALL the modulation sources available when demoing:
    
    		+ Play notes with different velocities (probably won't
    	 	  do much on organ patches though...)
    
    		+ Play with the mod wheel.  The patch may sound boring
    	 	  with the wheel off, but may come to life with a screaming
    	  	  Leslie effect when you rotate the wheel.
    
    		+ If it's a pressure sensitive keyboard, see if pressure
    	 	  does anything
    
    	3) Play a variety of keyboard techniques styles:
    
    		+ Lead lines
    		+ Double stops
    		+ tight voicings
    		+ open voicings
    		+ one-hand/two-hand
    
    These recommendations really apply to more than just organ sounds.
    
    The POPORG sound that I referred to above didn't really hit me until
    one day I *ACCIDENTALLY* had the mod wheel all the way up, and played
    a wide-spacing voiced 7th chord followed by a gliss - that nearly
    knocked me off my feet.  (By the way, you can hear that chord on
    my COMMUSIC VII submission, although it sounds even better coming
    out of my JC-120 amp.)
    
    The main point is that you really need to spend a few minutes with
    every patch to find out what "it's about" and how it's supposed to
    be used.
    
    The third-party software people are beginning to recognize this and
    nowadays you frequently see documentation for each sound and/or a
    demo that demonstrates how the sound was intended to be used.
    
    	db
    
    p.s.  While there may be other units that offer good organ sounds, I'll
    	  just say that I think it's one of the things that the Ensoniq
    	  synths seem to do well at (ESQ-1, SQ-80, VFX).
    
    	  If you end up with an Ensoniq, I have a nicely organized bank
    	  of organ sounds (like about 40 or so) so you would at least
    	  start with a fairly good library.

      I agree with checking out the Ensoniqs. The keyboard in my band
    just got upgraded to a VFX and it has a few real nice organ patches.
    I think it's got one of the best piano sounds,  and overall
    sounds fuller than a lot of other gear. I probably would have a
    VFX for myself if I didn't already have a D-50. 

       Pick up a used Ensoniq Mirage and give Mike Diorio a call. He
    sampled his B3 a while back. He's got a coupla killer samples.
    
    Frank
    

    A friend w/an M-1 recently checked out a card set (PCM samples plus a
    program card) that was dedicated to Organ sounds.  Lots of variations
    on jazz organs, distorted organs, B-3/hammond sounds, etc.  The M-1
    (and T-series) have built-in effects that can nicely simulate a Leslie,
    including the gradual speed up and slow-down of the rotary speaker.  An
    M-1 plus the optional cards set may be just what you're looking for
    (for more $, there's the Korg T-series [which I have] with more organ
    samples built in to the unit's ROM samples) ...
    
    -Jim

    Also beeing a Hammnond fan (non owner) I recently read in KEYBOARD
    (I think) that a product either called "VOCE" or from the company
    "VOCE" was shown at the NAMM?? It was refered to as "A tonewheel
    Hammondorgan with all its characteristics in a 1U rack"
    
    I have, without success, tried to find out anything about this SGU
    in Sweden but no one recognises the name VOCE. 
    
    HAve any of you heard of this very interesting thing??
    
    Torbjorn
    

    Haven't heard of that before, but what a great idea.
    
    It would be nice to have a synth that "programs" like a Hammond
    (drawbars, etc.).
    
    We've had Hammond simulations before (the "older" Korg T series that
    was endorsed by T Lavitz back in the late 70s) and while they were
    good enough and light enough to go for, they don't compare sonically
    to a good sample or synth patch from todays gear.
    
    	db

    
    Lemme see if I remember my transform theory as it relates to
    drawbar organs:
    
    Given any set of "basis" functions, you can build any waveform
    (i.e. synthesize any timbre) you want.
    
    
    Basis functions: a set of functions, all of which have the
    property that for any pair of functions in the set (i.e. Func1(t)
    and Func2(t)) the time-averaged value of Func1(t) x Func2(t) = 0.
    (well, I think the definition is "the integral of" but time-average
    is close enough)
    
    Do the outputs of individual tone wheels form a set of basis
    functions?  I don't recall _what_ each tone wheel outputs.  Is it
    a sine wave, or something more musically interesting?
             
    	-Bill

    Each tone wheel generates a sine wave - there is one for each note in
    the organ.  What makes the Hammond interesting is the fact that the
    signals are of very low amplitude and they used unshielded wiring
    between the tone wheel generators, the chorus generator, the drawbars
    and the mixing transformers.  The cross coupling that occurs as a
    result is phenomenal!  A lot of folks refer to this as the "overtone"
    of the instrument.  Very unclean outputs, but a distinct "Hammond"
    sound.  And rather hard to duplicate, IMO.
    
    /Terry

    See note 2505 for info on another "B-3/hammond" tone generator, the
    Yamaha CVS-10 ...
    				-Jim

    
    See Keyboard (April 1991) for discussion of VOCE organ module.
    
    

The latest issue of keyboard (I think) talked about a new single manual organ 
from Hammond with the B-3 guts in it. I think it had MIDI as well. 

Back to the future.

 

I spoke to someone at Caruso's a few months ago that described TWO new models
from Hammond.  A single keyboard model and a full blown 2 manual instrument
with a pedal clavier.  Both with MIDI, and (here's the rub), both solid
state.

I recall earlier attempts by Hammond to compete with other solid state
instruments (anyone remember the "J" model?), and they were dismal at best!
Since they've got some Japanese money, maybe they got it right this time,
but I have yet to hear one and test drive it!

As for me, it's gotta have all the grundge that the old tone wheel models
have.  Didja ever look at a waveform on a scope?  You wouldn't believe
the scope!  If they've managed to get all that into a chip, it would be
great!  (Chip'll probably weigh 40-50 pounds though!  ;-) )

Anyway, the guy at Caruso's said that these babies would be sold in music
stores as well as Hammond dealers.  So, they should be more available and
maybe even competitive in price!  Stay tuned

/Terry

I just got a Preliminary spec sheet on the Hammond XB-2 dated Jan 15, 91.

The XB-2 is supposed to be a midied, non-tonewheel version of the venerable B-3.

I saw (but could not here) it being used by a band on Sat night live a few weeks
ago. Either Keyboard or Electronic musician mentioned it favorably in their
NAMM review. 

I hadn't realized it but Hammond is apparently now Hammond Suzuki.

Anyway, the specs:

* = Features accessed through LCD

> Keyboard		C1 to C6	61 keys

> DRAWBARS	9 pitch
		B-3		*
		Mellow		*
		Brite		*
		Slow Attack  on/off	*
		Sustain	 on/off		*
		Fold Back   Adjustable	*

>PERCUSSION	
		2nd
		3rd
		Decay	Fast/Slow	*
		Volume	Soft		*
		Velocity  on/off	*

>VIBRATO
		on/off
		V1. V2.	V3.		*
		C1. C2. C3.		*
		Speed  Slow,Norm,Mid,Fast  *


>KEY CLICK	on/off			*

>OVERDRIVE	on/off			*
		Depth		Mod Wheel

>TUNING		1 Hz steps		*
		430-450			*

>TRANSPOSE	+/- 6 Semitones		*

>LCD Display	16 Characters, 2 lines

>PRESETS	Cancel, 1-8 Memorized
		Patch Library
		  24 Factory Patches
		  24 User Programmable Patches

>LESLIE		slow/fast

>VELOCITY	Keyboard    on/off	*
		Percussion   on/off	*

>KEY SPLIT	on/off			*
		Split Point		*
		Split Drawbar Set	*

>Pitch Bender	+/- 1-12 Semitones	*

>Mod Wheel


Rear panel controls and connectors include: Power on/off; Leslie standard 11 pin
connector; Stereo Headphone Jack, Leslie Send/Return (2 phone jacks); Line out
(L&R); Footswitch (Programmable); LCD contrast adjust; Expression (looks like a 
7-pin din cnctr); Midi in/out/thru (function programmable);separate treble and
bass tone controls. Dimensions 45 3/4 x 3 3/4 x 12 1/4; 28 lbs. Accessories
available: Foot switch, Music Stand, Case, Stand, Expression Pedal. 

Also available though not mentioned is an optional reverb.

List price is either $2195 or $2395 (I can't remember which).