[HAM] Depth-ness of the B3

[William Mark Bristow]

Jim,

Owning an XK-3 and various Leslies and a B3, B2, A-101 (in church
ministries).  Recently I had the opportunity to play an XK-3c system and the
3300.  With a little tweaking of the 3300s controls, the rig sounds very
much like a good B3.  The 3300 is not quite the tube sound – more like the
High Power Bill Beer Leslies I own.  The Ferro-fluid treble driver in the
3300 is more V-21 sounding than the JBL 2482 in the Beer Leslies.  It is
absolutely a good and workable sound.

 

Like Scott said a few posts back, when you’re playing with a full band –
most of the subtleties get lost in the wall of sound created by the band and
what the audience hears is Hammond.  I’ve used my XK-3 with the Leslie 2101
and gone into the audience with another organist guesting on the XK.  The
sound is certainly a believable authentic Hammond.&nb sp; (We also use a
Motion-Sound Pro-145 at times with the XK-3).

 

Yet, sitting at the thing – I miss the playing subtleties I’m used to
hearing on the B3 or the variants I own.  On the one keyboard alone – I
certainly have to alter my playing style.

 

The B3 puts out a much hotter signal than does the XK-3 which is why is must
be lowered in volume.  If your B’s gain control (a screw in the variable
swell capacitor doghouse) has been turned up – the signal may be very hot
indeed.  (Some rockers and jazz players turn the screw out from its factory
about 1 and ½ turns to get more overdrive and growl to John Lord distortion
at a stock Leslie – and so they can fry up plenty of treble drivers.)

 

When we’re in large venues for several days we often take my Bob Schleicher
B3 portable – especially if I am leading the band with the organ.  If it’s a
smaller venue, or I’m just playing licks with a band – then the Xk-3 and
2101 or Motion-Sound goes.  Sometimes we fly the XK-3 and 2101 (in flight
cases) – costs about $100 per leg of the journey – but often much cheaper
than renting a B3 and Leslie.

 

You know, part of playing is the acoustics of the venue.  Even with the B3
and 2 Leslies, it takes me a couple of hours of playing to get the drawbar
settings and eq (my Schleicher B3 has active treble and bass – The Beer High
Power Leslies also have treble volume adjustment) adjusted to exactly what I
want to hear.  With the XK-3 and 2101 or Pro-145 it usually takes me about a
half day’s playing with the band to get the sound I want.  Of course, the
band and soundman is tweaking and eq’ing for half the day to get what he
wants to hear.  Venue acoustics have a huge impact on the sound – in my
experience.

 

When I set the XK-3 and Pro-145 next to my stock 1952 B2 and stock 145 – I
can tweak the sound of the XK so that it sounds exactly like the B and 145
(which I love) and yet I don’t like those settings at all when I’m out in a
Prison yard event under a giant tent with 1000 men and a full band – and
3000 watts of high power sound reinforcement.

 

You know, at 50 years of age, I’m old enough to remember organists
complaining when their favorite B or C failed at a gig and they had to use
another player’s rig, or a rental.  (And we’re talking apples to apples
here, actual Tone-generated Hammonds and stock 122’s or 145’s) As Hammonds
sound slightly different, it wasn’t the same sound they were accustomed to
with their own equipment.

 

I recently read an interview of Joey D.’s first time to hear Jimmy Smith.
It wasn’t even on a Hammond – but a Wersi – and the lower manual had failed,
so Jimmy was having to compensate with his foot  and any comps on the lower
register of the upper manual.  Yet, Joey described Jimmy ’s playing of that
horrible instrument as incredible and was completely captivated.  As Scott
has posted previous – that ability to make anything sound great – is what
makes a great player.

Mark