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The Real MC

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  1. Ouch... So what makes it so radically different from the "good" Hammonds? They're all electromechanical tonewheel organs with tube driven amps, right? You guys may have to dumb it down into guitar player-understandable terms B3 - tonewheel generator, scanner vibrato (classic "purr"), percussive "wooden" thunk, vacuum tube audio path (you guitarists understand the "warm" sound of tubes, no?), waterfall keys (rugged). H100 - tonewheel generator, phase shift vibrato (too churchy), percussive "plastic" beep, solid state audio path (sterile and cold), diving board keys (prone to breaking). They only thing they share is the tonewheel generator. All the other components are radically different. Like I said - the furthest you can get from a B-3.
  2. The furthest from a B-3 as you can get. Not much value.
  3. Kelsey? They were sooooo 1970s you just had to reopen old wounds didn't you?
  4. Definitely not a vintage or desireable Hammond. Like Moe sez, the seller should pay YOU to cart it to your house.
  5. The Real MC

    .

    My Martin is Rosewood
  6. Ted Nugent said it best "I don't like repeat offenders; I like DEAD offenders"
  7. When I was a kid I learned to tune my Rhodes piano by ear. I had a pretty good ear for pitch and intervals. Then I tried it on a piano at school and it was hopeless. I couldn't even get it back to original pitch. Rhodes has a strong fundamental so it's easy. Piano strings have so many inharmonics that you cannot tune by fundamentals. Self-training books and videos don't even begin to get you there. I leave piano tuning to the trained professional.
  8. Obvious troll is obvious. That's why we have the ignore list
  9. I like my SF25s on two conditions: 1) mandatory good 31 band EQ to level out harsh upper mids (your ears will hurt without EQ) 2) use with subs (the SF25s SUCK at projecting bass frequencies)
  10. I'm a systems engineer by day and rock-n-roll rebel by night, although my gigging hobby is on hold due to career/life issues. I'm a keyboard player & bass guitarist who got tired of working with bands using mediocre PA and no incentive to invest in better equipment, so I started making my own investments. I had been recording at home for years and had done FOH work as favors so I already knew my way around pro audio gear. All I'm lacking is a monitor system. I'm sitting on the fence trying to decide between IEMs or old fashioned monitors. I'm also lacking a means to cart this around, due to having sold my truck during the divorce. I'm thinking about focusing on FOH work over playing keys/bass in a band as I really enjoy the challenge and can get great results. My FOH system is almost complete and it can accomodate anything from bars to dance halls (it's louder than I need it so I got headroom). I would like to experiment using it outdoors in my back yard. Console: A&H GL2200-32 Very flexible board for the money, and built like a tank. 32+ channels is more than enough for most bands I work with, but anybody who has worked at festivals knows that those extra channels help a lot with multiple bands and minimum time between acts. I carry it in an Anvil flight case, only I neglected to order a doghouse not realizing the value of them at the time. It doubles as my recording board, good sounding mic preamps and very clean signal. Console: A&H GL2200-12 Compact version of my 32 channel board for those small format gigs. Got it on ebay with a flight case with wheels. Doubles as monitor board for large contract jobs. I would've bought a Mixwiz but that would have meant a change in system wiring, and this came up on the 'bay at the perfect time. Tops: JBL SF25 x2 (known today as JRX125). Very good cabinet for the money, very hot SPL levels and even dispersion. Some harsh upper mids that can be tamed with EQ. Subs: EV S-181 x4 Full and punchy, great for bars and dance halls. Probably will need something beefier for outdoor jobs, I don't think they are adequate for long throw. I added a second pair as one set was not enough for outdoor gigs. Amps: Carvin FET1000 Very good match for the JBLs and EVs, only the subs occasionally clip. That's why I doubt a single pair of EV subs would work for outdoor jobs. Limiter: Drawmer DL441 After blowing my subs one too many times, I bought a limiter protection device. Not many choices for limiters out there. The Drawmer is ideal in that it is very transparent when limiting is not active, I cannot hear any difference in sound. When it is in limiting mode, it reacts fast to prevent damage. LEDs let you clearly see it doing its job, and you don't really hear it working unless you are driving it hard. It has a security cover on it to prevent unauthorized tweaking. Processors: Ashly GQX3102 graphic EQ - I shopped around and decided on these for FOH EQ. Mostly I use these for attenuating harsh peaks. I tried PVs, DBX, and others but these fit my needs the best. JBL 5547A graphic EQ x4 - monitor EQs. 31 band with variable hicut and locut filters. Really good correction tool on honky monitors. Loft 400 quad gate/limiter - for monitors. In the event I have IEMs in my monitor system this will be indispensible. They are also a good protection device to keep floor monitors from blowing. These were pro audio back in the 80s but hard to find these days. I got lucky and landed this one from a store for $40 with a "bad channel" but when I got it home there was nothing wrong with it! Eventide 2016 digital reverb x2 - not cheap but I wanted a dedicated reverb box with knobs so I can tweak it live. One of the best FOH reverb boxes out there. Can dial up 99 programs. Bought a second one to use for drums. Korg SDD-1200 stereo digital delay - used for stereo chorus & doubling. A relatively unknown box which can be found cheap and has excellent fidelity - and knobs for live tweaking. No program storage, but it is seldom tweaked anyway so not necessary. Korg SDD-2000 digital delay - my dedicated echo box, another unknown gem. No knobs but has 64 programs so I can dial up any echo quickly. Also has tap delay so I can dial a delay time in sync with the beat. Most people would ask why not use a multi-FX box. The answer is that a dedicated FX sounds much better than a multi-FX. I put the 2016 and 1200 on the stereo returns and the 2000 on a mono channel, whose EQ comes in handy for shaping the echo when I don't want full bandwidth echo. JBL/UREI 7110 compressor x2 - very underrated compressor, sounds fantastic on just about anything. I love the variable control between peak and RMS detectors, this is a control not found on anything else except the UREI LA-xx line. One is dedicated to my bass preamp rack, the other is in my processing rack. Urei LA-12 dual channel compressor x2 - used on vocals. Literally a dual channel version of the 7110 (the single channel LA-10 was original model 7110a, dual channel was 7112). The circuit between the 7110 and LA-xx are nearly identical. Took me a year to find two of them, they don't pop up for sale very often. For some reason vocals just come alive through these things and they sound so natural. Urei LA-22 dual channel compressor x2 - used on drums or special processing. It is an LA-12 with the option of expansion and bandwidth control of processing - you can select the spectra you want to process. Expansion on selected spectra can be very effective, a different effect than EQ. These don't pop up for sale very often either, took me two years to find these. Drawmer DL-231 dual channel dynamic processor - used on drums or special processing. It's a combination gate attenuator/RMS compressor/limiter and is designed to minimize interference from neighboring noise sources - effective on toms. Drawmer DS-201 dual channel noise gate - the most effective gate ever built. Selection of frequency bandwidth lets you zero in on the trigger signal. Used on drums. Tascam CR-RW901SL CD player - CD/mp3 player that does not skip from vibrations (important when running FOH). Also can record shows. The fact it plays mp3s is very convenient for break music. EV crossover - used as a high fidelity highpass filter on vocal subgroup and on drum overhead mic. Urei 525 crossover - best crossover for the $$$, configurable to stereo 2/3 way and mono 4/5 way. Recessed crossover points so curious hands can't change them. Push the crossover controls inward and you activate a spring-loaded switch which engages a test tone that is the same frequency of the crossover point - very handy for finding optimum points in your cabinets. Level controls pull out to mute that band for troubleshooting. Moog Parametric EQ - still have yet to find a better problem solver than this box. Very good correction tool, and a colorful EQ if you want it for boost. Moog 10-band Graphic EQ - 10 band may not sound like much but it's a good EQ and I use it on inserts for instruments that need more EQ than the four bands on the A&H console. VestaFire RV-2 - surprisingly good sounding dual channel spring reverb, but needs converters for its -10dB I/O. Mic stands - K&M formerly known as AKG stands. Mics - Shure SM58 x2, SM57, AKG D321, Sennheiser e835 x3, Sennheiser 441, EV 408 x2, Audio Technica AT2020 and AT2021. Still building the mic collection, not done yet. Anvil ATA racks with 350lb capacity wheels, Proco Stagemaster 28 channel 45m snake, custom made I/O patchbays and cabling, homemade XLR/patch cables (never found OTS cables that could hold up as good as the ones I make on the bench). And a cable spool for the XLR cables (a must for any FOH gig).
  11. Way OT...but... I used to go to a church camp in Painted Post NY, Watson Homestead...I believe it was called, weird to see that town in your sig. Thay was a LONG time ago ! I live four miles up the road from Watson Homestead. It's not often I meet HCers who know where PP is.
  12. more like high pitch hissing. Clock bleedthrough from the BBD clock driver. The longer the delay time, the lower the clock frequency. It can dip low enough into the audio domain and manifest itself in the audio chain. Filter circuits are supposed to remove the clock signal from the audio, but it appears they didn't design it right.
  13. Those models are nowhere near the sound of the B-3. Both are non-tube solid state organs with inferior percussion and non-scanner "churchy" vibrato. They also have pre-emphasis to reduce the "key-click fault" that is a feature of the old Hammonds. Hammond despised what modern music was doing with their organs, and their disdain for the genre showed in their later models.
  14. Awesome! ZZ Top was around before Skynyrd, though. Both started about the same time. ZZ Top had a label deal earlier than LS. Skynyrd had a couple of offers but Ronnie vetoed those deals because the labels wanted them to be another Allman Bros and Ronnie did not want that.
  15. Women are emotional nymphomaniacs. They are impossible to please.
  16. Frankly when it comes to cases, you get what you pay for. Those ebay cases are pretty poor. There is a difference between "ATA style" and "ATA approved".
  17. Am I the only one who came into this thread thinking "stepped on a landmine" referred to dog droppings in the yard?
  18. Axl has a tendency to fall victim to "scheduling difficulties"
  19. My SE can switch between grungy overdriven snarl and sparkly chorused clean flawlessly.
  20. You gain more patch memory, better reverbs, master EQ (for direct to PA), and SPDIF outputs on the LE but lose the 2nd "A/B" amp channel on the SE (which is handy for switching to leads) and the LE tuner isn't as effective. The cabinet selection is buried in the UI on the LE, dedicated selector switch on the SE. If you don't use a volume pedal, you won't miss it on the LE.
  21. Gibbons has a long history of telling tall tales about his gear to keep imitators off his tail. Don't believe what you see behind him on stage either. If you've ever seen his Gearhead book, you'll notice the subtle and complete lack of discussion about his amps and effects.
  22. I know people who own TS-1x boards. They were the pinnacle of user friendly sampling OS and nothing better has been developed since. Every time a new sampling board comes out, the common complaint is that they are not as easy or intuitive to use as the TS-1x. TS-1x owners tend to buy spares for backups or for parts. They are that dedicated to the thing!
  23. Early LS used Marshalls or Ampegs, Ed King used an occasional Fender Twin (Sweet Home Alabama was cut on a Twin). By mid-70s they started using Peavey Maces onstage because the Marshalls didn't project very far.
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