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Ken Hensley answers...
Question
Hi there, this is Heribert from Bochum, Germany. Maybe this is a
FAQ, but til now we couldn't solve our sound-problem. Although our
keyboardplayer was lucky to get a "real" B-3 from 1960
with an 147 leslie we still don`t find that black-live-album-Heepsound
to get that "easy-livin`" feeling. Maybe it's impossible
to get it without some additional amplification or modification?
Please be so kind and give us some hints to come a little closer
to the old "Heepsound" we're searching for.
Thanks a lot,
best regards
Heribert Kalthoff
Answer
Dear Heribert,
Thanks for your question, it's one that I get quite a lot actually.
While the Hammond B3 organs are usually consistent (as long as they
receive constant, clean voltage) the Leslies can vary a lot and
this will limit your search for some sounds. I carry a voltage stabiliser
with me now to solve the first problem. My "traditional"
sound is based on controlled distortion or overdrive which comes
from "combining" the two manuals correctly and running
the Leslie at the right volume. If the B3/Leslie is set up correctly
it should be possible to control the distortion with the volume
pedal on the organ so that when it is backed off the sound is fairly
clean. Setting things up properly is so important, especially if
you have to pay attention to singing and "performing".
Because the rig is valve-based it is important to make sure the
valves are all operating at peak and a service technician can help
with that. If not, they should be replaced! And there are options
for the speakers in the Leslie which will give it more tolerance
to long periods of playing at high levels. But they all sound different
so it's important to try them and make sure they don't change the
character of your sound. If it's not the sound you want there's
not much point in making it louder!!
Finally...no, there is no need to have additional stuff. I tried
all that and the best way is to use a good, solid and well-maintained
B3 and Leslie. Once you have the sound you want then you can solve
the live problems by using a long Leslie cable and carefully isolating
the Leslie from all the other sounds/noises around. This can be
done in a lot of different ways, the easiest of which is to throw
a blanket over it. I prefer to use a specially built plastic "cage"
with microphone mounts at the top and bottom but I can't always
carry that with me so the old blanket should always be around!!
I hope this helps a bit and good luck.....
God bless,
Ken Hensley
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Question
Can you tell us a little about some of your favorite drawbar registrations
for the Hammond? Is your Hammond setup customized in any ways?
Thanks,
Jim Lynch
Answer
Dear Jim,
Thanks for your note!! My normal organ set-up is exactly that...
normal!! I have tried so many custom rigs that I eventually returned
to the simple formula of a B3 and Leslie, set up and maintained
well. The live challenges can be very easily dealt with and it definitely
works best in the studio too!
A major part of my "sound" is the combination of the two
manuals which, assuming you have the basics in place, is really
important. I always use the drawbar keys as I am not mad about the
pre-sets and the two settings I use most on the upper manual are,
well, how shall I explain this? For the choruses of July Morning,
pull out all of the first set of drawbars then push the fourth drawbar
in a quarter, the fifth and sixth ones in a half and the seventh
in a quarter. For the intro just pull out the first five drawbars
of the second set and add the sixth one if you want a little more
top end.
In most straight rock applications I play octaves on the lower manual
so I use the first four drawbars and balance them so they don't
obscure what I am playing with my right hand. Basically, think of
the drawbars as volume controls as well as tone controls!
Hope this helps..
God bless,
Ken
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