The terrible tradeoff you get from reversing outputs on the G70 (or pretty much any closed arranger) is that you give up the effects in their entirety. Aux outs are generally bone dry, no chorus, no reverb, no echo, no nothing. If you play in a big room, maybe not such an issue with reverb, but many of our sounds (take chorused and autopanned Rhodes, for instance) use effects extensively to sound right.

Sadly, once upon a time, way back in the day, there was always a pool of inquisitive tinkerers that would look to the innards of many keyboards (even their OS's) and come up with hardware and software solutions to modify a factory keyboard to be more flexible (DX7, Korg synths, Ensoniq stuff, many others). The back pages of Keyboard Magazine used to be full of people extending the capabilities, sometimes in radical directions.

But lately? Bugger all, mate!

I for one would HAPPILY pay a decent price for a mod to my G70 that routed the HB section to an individual out. I've run the HB section through my Motion Sound Leslie, and yes, while it isn't as spot on as a C2 or XK3c, it's an AWFUL lot better than the built in sim, especially to the player (chas doesn't really take the performer's gut reaction to the swirling sound next to you in to account, IMO).

Sure, the average listener can't tell the difference, but the average listener doesn't care much about the difference between a bad Mexican Strat copy and a REAL USA Strat, either. But you BET the player feels it!

Chas IS right that the performance itself make MUCH more difference to the realism for the audience than the gear, and for organ parts, an expression pedal is absolutely de rigeur (and a keyboard part that can be set to fixed velocity, Fran, which the G70's sampled organ Tones can't - E series can, though), but, once you take those for a given, then the realism of the Leslie starts to factor into it.

Let's face it, chas, for all your 'they can't tell the difference' line, you actually spent nearly three GRAND on a C1, didn't you? Why not just get a Sonic Cell and be done with it?! Or maybe it IS more about the sound than the player, at least once you are past the basic level...?

I completely agree that the performance itself, for ANY imitative sound, is the primary thing that sets whether something sounds realistic or not, strings, brass, keyboards, you name it. But once you DO get the performance right, the sound itself starts to factor in bigtime...