Russ, I hope you at least take the C1 out of the box...

On the C1; there IS one little idiosyncrasy that may or may not be "annoying" to you. Unlike most synths which sound at the bottom of the keystroke, the C1 sounds as soon as you touch it (top of keystroke). I can't remember if a real B3 acts like this since it's been awhile since I played one, but if you've got bad playing habits like not hitting a key firmly or accidentally touching a key that you didn't intend playing, it can definitely be annoying. The good news is that it's forced me to clean up my act (playing technique) and it is no longer a bother (just being aware of it is half the battle).

I have to say though, that with no intention of trying to promote this keyboard (this is, after all, an arranger forum), I am totally and deeply, in love with this thing. If I had to choose between the C1 and my wife, I would soon have lots more time to practice . It has no other voices and was designed to be an organ only. I can't advise you on pedals (if you need them). The PK7a that I got works but I had to replace the "stuck on" EV5 expression pedal with a Behrenger FCV100, which, at 24.00 has to be the best bargain in the entire music world.

I'm going over to a Baptist Church tomorrow to try a real, well maintained, B3. I just want to make sure my over-the-top assessment is legitimate. The guy taking me over there, a decent organist himself, thinks the C1 is "scary good". We'll see.

I really do hope you'll get up this way. I don't have your collection of "toys", but I've got most of the essentials (Nord C1, Sonic Cell, Motif ES, VP550, Korg Triton, A70 for softsynths, and of course, the PA1x Pro and the Tyros2); in other words, enough for a little fun. Who knows, maybe we could do a collaboration and post it for the King. Wish we could get Mo on sax and maybe a little piano from Diki (I listened to his Weather Report/Joe Zawanil tribute and if you haven't heard it, go over to arranger.com; very nice, and also satisfying to hear someone playing real music).

chas

[This message has been edited by Nigel (edited 11-07-2007).]

Sadly, Fran, it's a question of priorities. The good news is, I can let new toys rot in the box and would be fine, financially.

The situation is, as important as music is to me, teaching, graphics, film production, research, package design (the activities we undertake at my company) are equally important. I would be hard-pressed to make a choice between the two.

And, they all fit together. There are audio aspects to much of our productions.

Right now, I am working 20 hour days seven days a week to complete a packaging, point of sale display program, ad slick package and other elements for an imported tool line (53 SKU's) that will go into Home Depot, Lowe's and other big box chains.

That takes priority. Any playing in the public is forced relaxation, even though it is 4-6 jobs a week.

The Nord will go on the bandstand the week I get it. Getting up to speed on the G-70 or Midjay will take more time. And time is something I just don't have right now.

Everyone has to set priorities as far as work goes, and these are mine.


Russ

Chas...Weather Report on one side and chicken hats on the other...and we're suprised that there's an occasional problem.

Actually, I admire SOME of the attributes of good entertainers. Just don't want to be one.

Be well,


Russ

I'm going to give playing Weather Report IN a chicken hat a try, maybe it's the one thing that is going to put me over the top in the music biz...!

But, realistically, I don't much care whether someone is a jackass or a saint in their posting style. I just go listen to their posted demos, and if they can play, I'll take what they say a bit more seriously...

Hence the (mostly) lack of seriousness around here!


BTW, Donny, maybe we can get Fran to join you, me and Ian's NATO (Not Attacking The Others!) Pact... Things might even get boring 'round here.... (Naaaaah!)

There's something to be said about entertainers -
Shame and Scandal in the Family
http://uk.youtube.com/watch?v=WCteobGDdNo

Back on Topic...

I've been playing a friend's Electro2 61 quite a bit, recently, and think that, once you start to get used to them, and put the time in that learning how to push and pull the B3's drawbars around took (even they are not perfect!), you can get used to the Nord system. It just takes practice.

The thing about the 'high' trigger point on the C1 is taken from the B3, and the contact bars. It doesn't model (unlike the TOTL B3 Hammond clone) the fact that different drawbars would trigger (very quickly, but you could notice it if you pressed a key VERY slowly) at different times, but a B3 definitely triggers MUCH higher in the throw that a piano or electronic keyboard. It is what made those lightening runs and repeated notes so easy...

I only have one major quibble with the Electro2, and that is that it won't do two things at once (other than a B3 split)... You can't layer it's Wurli with a Hammond, for instance. So I am looking a LOT harder at the Nord Stage, these days. But my ideal would be to have the C1, with a Nord Stage engine inside it. The PERFECT 'jamming' keyboard, as far as I am concerned...

Hopefully, Nord will develop it. It would be KILLA'..!

Yeah, I figured as much. I just didn't remember it as being quite so sensitive. BUT, if you like those B3 stutters (and what Jimmy Smith fan doesn't), they are just insanely easy to do on this board (I think the attack on the percussion might be a hair quicker on the C1). In fact, it may be TOO easy, as I seem to be inserting them into every solo.

I have only heard the Nord Stage once (live) but the keyboardist was so good, it was hard to tell if it was his playing or the instrument that had my heart racing. Don't know how the other voices are as he used it as a piano all night. Anyway, it seems to be steadily gaining favor with touring pro's.

Anyway Diki, since you seem to tend to "keep 'um 'till you learn 'um (in depth)", this seems like a great choice as it appears to be a keeper.

chas

Wow, I have to tell you, the Nord C1 sounds about as good as the Native Instruments B4 and much better than my Roland VK8m. I judge the clonewheels based on that cutting/grinding sound combined with a nice Sine tone on the drawbars. This baby has that distinctive sound.

The other issue with electronic drawbars is a moot point. I don't know many players that adjust their footages during a performance. They usually rely on presets to change sounds.

I'd love to get my hands on one!!

------------------
Al Giordano
http://www.arrangerworld.com


Tyros 2, Yamaha P-250, Korg Triton Extreme 76, Roland VK8-M, DW Collectors Series Drums, Roland SPD-S.

Unless you are playing your own B3, and soldered in the resistors to change the preset keys (the reverse ones), you ALWAYS had to make your own drawbar changes...

Then there's the old trick of just opening out the top two or three drawbars just a hair for the chorus and back for the verse (even if you weren't making gross registration changes) and you can see that finagling the drawbars constantly was a staple of B3 usage back in the day, and still is in today's clonewheel era. Presets don't really cut it for the fine detail work, although they are handy for setting up songs (and used to be if you made your own on the B3 as well).

The fact that you see many players relying simply on presets alone is usually a dead giveaway that they never cut their teeth on the real thing, IMO...