Re: Tuning AmpsWB wrote:
> Lord Valve wrote:
> > Hey - maybe he's a keyboard player.
> >
> >
> >
> You ever play that Hammond through a Marshall ? aka: Deep Purple ?
I experimented with using a couple of Super Reverbs in the early 70s.
I didn't care for it - they distorted far too easily. No disrespect to
Lord's chops - he has some - but I never could stomach all
that distortion. As I remarked on another thread, I'm using
nearly 2,000 watts with my digital Hammond XK3/XK3-c
setup; not for volume, but for solid clean tone. I'd rather
switch distortion on when required (not often, for my style)
than have it as a built-in factor which never goes away.
I have a feeling that a lot of Jon Lord's distortion was related
to input overload rather than output stage clipping; an old
Hammond (we call 'em "oilers" now) operates at something
called "broadcast level," which is a *hellaceously* hot signal -
with all drawbars pulled (fairly common for rock players) you
could see 20 VRMS or more at the organ's output, which
was via a 600-ohm transformer-balanced line. Plenty of
current available, too. When (essentially) unloaded and
operated with a connection to one side of the output tranny
driving a 50K pot with one end grounded and the output
taken from the wiper (a typical setup), it was fairly difficult
to come up with a level that was useful over the full range
of the organ's swell pedal and still low enough to avoid
overloading the first stage in the guitar amp. The problem
was aggravated considerably by the fact that the organist
was in direct realtime control of the harmonic structure of
the signal; radical changes in overall timbre (as well as
level) were possible, and rapidly accomplished. That's
why soundpukes *hate* the Hammond; a vanishingly small
group of them knows how to put a Hammond into a live
mix, and that's why it's so difficult to hear organ in rock
music - most fader jocks run the organ at a very low level
once they find out that it's possible for the organist to
pull stops which will distort with the control settings
done during soundcheck. This causes the organist to
play with the swell pedal fully (or nearly fully) depressed,
thus completely wiping out the strongest weapon in
the organist's arsenal - the organ's huge dynamic
range. (Of course, many rock organists play<ed>
STANDING UP, which meant for the most part that
they had *no* dynmanic range at all, other than by pulling
louder or softer stops - a poor substitute for using an
expression pedal.) This is further complicated by the
fact that most of the popular Leslies (122, 147, etc.) are
only 40 watts; even stage level (for hearing yourself) is
problematic for organists. Lord's use of Marshall
stacks may have been an attempt to get around
this; it's nearly impossible to explain to a fader jerk
that when the organist solos, HE'S SUPPOSED TO
BE EVERY BIT AS LOUD AND OUT FRONT AS
THE FUCKING GUITAR SOLO IS.
Hence, 2,000 watts. ;-)
Lord Valve
BaaaaaarrrrrAAAAACCCCCKKKK!! <Safety!> <LOUD!>