MYou rarely hear those percussive 'stutters', glisses and smears, extreme (volume) dynamics, etc. that almost all Hammond players employ, used on the Lowerys, Wersi's, Thomas's, Bohm's, etc. of this world. Even if used, these instruments would respond differently.
I also don't think the home/theatre/classical/pipe organ crowd would ever accept anything that didn't have 500 buttons and switches, a pedalboard, and 300 lbs. of furniture-grade wood around it (with matching bench)
.
chas
The matching bench (complete with spray can of Pledge) is indispensable.
I always say, you don't play a Hammond B-3...you "ride" it. Nothing, but nothing feels like a playing a B-3...it's bulky and substantial, and it feels alive, and I suppose all those whirring tonewheels and robust switches go a long way in giving that effect...plus, there is no fossilized "shrink wrapped" Hammond sound...there are all manner of variable mechanics and electronics, which meant that no two instruments(even of the same year) ever really sounded quite the same.
While there are no "great" DX-7's, or Korg M1's, or even XK3c's and Nord C2's (they are all great), there are most certainly great Hammond B-3s...and, of course, not so good ones too...these are instruments alive with personality.
About the only other electric keyboard instruments in the same "great or not so great personality" field, would be the Fender Rhodes, the Wurlitzer Electric Piano, and perhaps, the Hohner Clavinet...the sound of these instruments, like the B-3, is also timeless.
My several hours on the jam session B-3 are always a special part of my playing experience, and I can't say I'd feel quite the same way playing a Wersi or Lowrey or equivalent...they are nice (especially the matching bench
) , but I don't feel they have as much "personality"; or, maybe, it's just something you may have had to have grown up with, much like our own experience with the Hammond.
Ian
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