Of course. That's the gist of what I'm talking about. I said 'B3' symbolically, but any of those three would tell me that I was about to hear a group that cared enough about the 'Hammond sound' to dedicate a considerable amount of money, floorspace, setup time, and musical content (that portion of the groups arrangements allocated to organ). But especially in the case of a 'real' B3, in that NOOOOBODY is going to haul that sucker around unless authenticity is really important to them. If it happens to be in a jazz club, I'm probably going to hear some 'poor mans' Jimmy Smith.

Listen, I've heard one organist after another claim not to be able to distinguish a B3 from a Nord C1 or XB3c when hooked to a leslie. The two main reasons for no mass migration (IMO) are, the layout (no drawbars and tabs) in the case of the C1 and Price (and to a lesser degree, weight) in the case of a two-manual Hammond XB3c. There's also the looks and aesthetics, in the case of the Nord C1. There's something regal about sitting behind the console of a real B3. It has a lot to do with how it makes YOU feel, as well as the audience. I don't think there is a single source to it's mystique. Some things have it, some don't. The 'B' does.

chas