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Who here has actually rewired presets on an A,B or C and uses them all the time?

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  • Who here has actually rewired presets on an A,B or C and uses them all the time?

    Although it is possible to get into the back of these organs to rewire the presets, are there Forum members who have actually done this and used them regularly? Limited to Gospel, or used in Jazz and Blues?

    I am tempted, because I almost never use the fixed presets...
    1955 B3, Leslie 21H and 147. Hammond A100 with weird Leslie 205. 1976 Rhodes. Wurlitzer 200A. Yamaha DX7/TX7. Korg M1. Yamaha C3 grand, 67 Tele blond neck, Les Paul Standard, PRS 24, Gibson classical electric, Breedlove acoustic electric, Strat, P Bass, Rogers drum kit, Roland TD 12 digital drums, Apollo quad, older blackfaced Fender Twin, other amps, mics and bits and pieces cluttering up the "studio."

  • #2
    It's a lot more useful if you have ratcheting drawbars, IMO. I intend to use them and change them as needed once I finish my CV with ratchets.

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    • #3
      Yes, I did that on my RT-2 a couple years back. It’s really quite simple.

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      • #4
        My take is that a good number of players are switching to smooth because ratchets run the risk of dropout as you pull drawbars. Rewiring ratchets is helpful, then, if you don't switch to smooth, because the configuration will always be there when needed. So this changes the world of presets from never being used to a lot of the time.

        Looks simple, but I can see why that bag of screws is still hanging there.......
        1955 B3, Leslie 21H and 147. Hammond A100 with weird Leslie 205. 1976 Rhodes. Wurlitzer 200A. Yamaha DX7/TX7. Korg M1. Yamaha C3 grand, 67 Tele blond neck, Les Paul Standard, PRS 24, Gibson classical electric, Breedlove acoustic electric, Strat, P Bass, Rogers drum kit, Roland TD 12 digital drums, Apollo quad, older blackfaced Fender Twin, other amps, mics and bits and pieces cluttering up the "studio."

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        • #5
          I suppose if I were to put my CV back together I might reprogram the presets, but because of my playing style I am constantly making major shifts or small tweaks in my drawbar settings (C-3) while I'm playing, and I would find it difficult to abandon that technique. I do have a few favorite drawbar patterns that I have "considered" putting on the presets, but don't seem to ever get a Round Tuit !
          :-)
          Roger Memphis
          C-3 with O-M, 145, 122RV, 2 PR-40's, PSR-36
          CV with HR-40, 2 B-40's

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          • #6
            Good point, Roger.

            The bottom line may be laziness on my part! I haven't studied it yet. And I need a good rolling stool. And a good headlamp. And time.

            Also, part of the fun of watching a good drawbar puller is the blur of hands crossing over to tweak this and that. It's a performance in itself.

            Dave
            1955 B3, Leslie 21H and 147. Hammond A100 with weird Leslie 205. 1976 Rhodes. Wurlitzer 200A. Yamaha DX7/TX7. Korg M1. Yamaha C3 grand, 67 Tele blond neck, Les Paul Standard, PRS 24, Gibson classical electric, Breedlove acoustic electric, Strat, P Bass, Rogers drum kit, Roland TD 12 digital drums, Apollo quad, older blackfaced Fender Twin, other amps, mics and bits and pieces cluttering up the "studio."

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            • #7
              I use custom presets all the time. The first thing I do with a new organ is setup my sounds. I use a few stock presets along with mine when rhythmically switching them while holding the cancel key. I also use the adjust presets all the time.

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              • #8
                Rewired the ones in my AV because of the drawbar dropout issue.

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                • #9
                  Clever trick! I like that. If I did that now it would sound ridiculous, but with the right presets, nice. Some of the jazz guys will play a chord on the upper, then rapidly switch to the lower (same chord), back and forth. A lot of work, but your technique could replace that, too.

                  Nice.
                  1955 B3, Leslie 21H and 147. Hammond A100 with weird Leslie 205. 1976 Rhodes. Wurlitzer 200A. Yamaha DX7/TX7. Korg M1. Yamaha C3 grand, 67 Tele blond neck, Les Paul Standard, PRS 24, Gibson classical electric, Breedlove acoustic electric, Strat, P Bass, Rogers drum kit, Roland TD 12 digital drums, Apollo quad, older blackfaced Fender Twin, other amps, mics and bits and pieces cluttering up the "studio."

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