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Drawbar settings for 'How sweet it is to be loved by you' Junior Walker version

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  • #1

    Drawbar settings for 'How sweet it is to be loved by you' Junior Walker version

    Hi,

    The 9 piece band I'm in play the Junior Walker version of the song 'How sweet it is to be loved by you'.

    This song is sax and organ heavy, and I've spent plenty of time trying to get the drawbars, chorus and rotary right, however I never seem to be happy with it!

    I'm using a Hammond XK3c with a Neo Vent II through a pair 12" powered PA speakers.

    If anyone has any suggestions for this song and how they hear it, I would welcome your suggestions.

    I have been trawling the net and only really found one suggestion, however it was a bit vague and didn't quite do it for me.

    Hoping there is someone out there who can help!

    jwrhold
    Tags: how sweet it is, jr walker, xk3c
  • #2
    Hard to say, but here is a link to one of his live performances in Holland, and there are some tight shots of the organist and the drawbars. But he's pulling them, so it's not static.

    https://www.youtube.com/watch?v=PDd69AV1vWY

    If was able to take some screen shots, but you can probably do that easily.

    Give it a try.
    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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    • #3
      Thanks for that, I will go and take a look right now.

      Comment

      • #4
        That’s a great performance!

        Hard to see what is going on, but a nice version to work with.

        Thanks again!

        Comment

        • #5
          Going back to one of the original 45's on Youtube, and comparing with this, I would say you could start with:

          C3
          No percussion
          888000000 as the base, then look at
          888014200, and considering moving only the 5th, 6th and 7th drawbars out more or less to taste.
          That part is very much in the background an muted, but pulling those middle guys will fatten and brighten, especially as you build up in parts of the song, especially with the sax soloing.
          Then if you really want to come out more I would pull 8 and 9 out all the way and flip the Leslie to fast.

          I could be wrong, but if I were playing that one, and wanted to remind listeners that these guys carried around at least an A100 to be heard in the mix, that is where I would go.

          Victor Hughbert Thomas was the organist, passed away a few years ago, the last surviving member of the band, as I understand it.

          Just my two bits. It would be fun to hear other opinions here!
          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."

          Comment

          • #6
            Originally posted by Tonewheel View Post
            Going back to one of the original 45's on Youtube, and comparing with this, I would say you could start with:

            C3
            No percussion
            888000000 as the base, then look at
            888014200, and considering moving only the 5th, 6th and 7th drawbars out more or less to taste.
            That part is very much in the background an muted, but pulling those middle guys will fatten and brighten, especially as you build up in parts of the song, especially with the sax soloing.
            Then if you really want to come out more I would pull 8 and 9 out all the way and flip the Leslie to fast.

            I could be wrong, but if I were playing that one, and wanted to remind listeners that these guys carried around at least an A100 to be heard in the mix, that is where I would go.

            Victor Hughbert Thomas was the organist, passed away a few years ago, the last surviving member of the band, as I understand it.

            Just my two bits. It would be fun to hear other opinions here!

            I'm rehearsing tonight, so will give this ago. I agree, it will be interesting to see what other people think. It's a great tune and I like playing it, but I've yet to satisfy my requirements on the settings required.

            Thanks for your input.

            Jwrhold

            Comment

            • #7
              So with headphones, on the 45, this is what I hear:

              No percussion.
              C3
              Leslie stopped.
              888400000
              He is really in the background
              And he loves using D6 chords ((when descending D Bm A G D6, 6th on bottom)
              Last edited by Tonewheel; 10-31-2018, 04:15 PM.
              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."

              Comment

              • #8
                In reply to Tonewheel's first suggestion:

                I tried this at home before I packed my kit up, and it sounded ok. In rehearsal, it sounded a bit muddy and not as bright as I hear it in my head. I did meddle with the drawbars on the right hand drawbars/lower keys as suggested in your post but I still don't think it's there quite.....

                There are many parameters to consider here though. I'm using a relatively modern clone (Hammond XK3c), playing through QSCK 12.2s, listening to Spotify digital versions (through same speakers) of tunes recorded many years ago using old tech on probably the real deal in the Hammond world. In the music college we rehearse at, I use my Hammond (minus Neo Vent) and play through a small mixer and then into two wall mounted powered monitors that are not a pair!

                I think it's going to take a lot of tweaks to get this right!

                I do appreciate the input I am getting though. I hope it will serve others well who might make the same searches as I did before I started this thread.
                Last edited by jwrhold; 10-31-2018, 06:15 PM. Reason: Trying to make things clearer!

                Comment

                • #9
                  We do it in F.
                  I want to 'stop' (smear during lyric 'stop') and thank you baby.I want to stop and thank you 'baby'.
                  Palmsmear(ascending) starts on 'baby' for the second part along with snare.
                  Just sayin.
                  The original is great,James Taylor version also.....
                  Don't forget the smear.
                  858543234 for the chorus.I just keep this on the lower manual....along with C2 more 'pads' and goose eggs.
                  Nail the tremelo to peak at top of palmsmear too!
                  858800030 for the rest.Up top....along with perc. Stabs and smears.
                  I keep perc and chorus seperate on this one.

                  Hope this helps,will be playing this one Saturday night.
                  Perc 3 soft slow C2 chorus.
                  A100/251 A100/147 A102/222 B2/142 BV/147 BCV/145 M3/145 M102/145 M111/770 L101/760 T222/HL722 M111/770 no B3/C3!

                  Comment

                  • #10
                    Love it, Pete!

                    Can you upload an audio file (voice memo on iPhone) even if it's distorted? I'm in Germany for over a year, and I miss that kind of soul food!

                    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."

                    Comment

                    • #11
                      As far as I know, Motown's studio, the "Snake Pit," did not have a Leslie. If they ever did have one, it wasn't until much later on, well after this song was recorded. Their B3 was recorded direct to the console, as were all of the guitars. Although Jr. Walker's version sounds "live" I think it's actually a studio track given that fake live/party feel (a la "Double Shot of My Baby's Love" or that Beach Boys album).
                      Farfisa Mini Compact V1, Fender Rhodes 73 Mk. 1, Hammond B2, Hammond L-102 "El Choppo", Hammond M-101, Hohner Cembalet CF, Hohner Cembalet N, Hohner Favor Combo, Hohner Pianet L, Hohner Pianet T, Hohner Symphonic 30N, Leslie 145, Leslie "430" (former 130 cab with horns and light show added), Nord Electro 3, and an entire village of guitars and harmonicas.

                      Comment

                      • #12
                        Don't know a lot,however Robbie King played organ on Stop In The Name Of Love,which has a Leslie and tone cabinet.No chorale,single motor.
                        First thing heard on that track is the 'smear'.....it may well be the first example of a spinny box on Motown?
                        Robbie was a legend and lived right here in Vancouver,many of us knew him.
                        My FAVORITE track of his is Summertime on his one CD.
                        Not readily available,jdoc and Wes have it.....
                        you can hear Robbie playing organ and piano on 'Fear Of Flying' by The Hometown Band......
                        heck,I spent decades in bands with the drummer on that one!
                        The one singing high harmony to the lead vocalist? Geoff 'THE SNARE' Eyre.
                        A100/251 A100/147 A102/222 B2/142 BV/147 BCV/145 M3/145 M102/145 M111/770 L101/760 T222/HL722 M111/770 no B3/C3!

                        Comment

                        • #13
                          Where are ya playing Pete?
                          Love to see you play man

                          B

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