Just got it! Plugged it in and it's a keeper.
Posted here because it's not an arranger, but will soon be one of my primary axes. Plan to use it with the Nord Electro on my right hand for select jazz trio jobs.

Have a jam session on Sunday, so it's "woodsheddin'time".

I'll let you know, but already wish I could make it my primary instrument. Hopefully, I'll be able to book more jazz jobs. Get requests when playing my B-3 at my house job but always turned them down because I didn't want to move the B-3, Leslie, Rhodes, etc.
(Actually do move it several times a year for large fundraisers for the Philharmonic, Kentuckians for Nursing Home Reform, etc.).

The two Nords may make it possible to take those ultra enjoyable gigs. Expect I'll get a little flack from the traditionalists who won't like the look. Kind of like when I take a Zeta or Kydd stick upright to a job where people are looking for an conventional acoustic upright.

Man, Chas, a battle of the C-1's would be something!


"Happy" Russ

Congratulations, Russ.

Battle of the C-Nord between the two Aces: Baron Chas von Gileshoven vs. Captain Russenbacker.

What a dog-fight!

Taike

C'pan .. best of luck with it ... enjoy ....
t.

This thing is GREAT! Gonna take a house job on Sundays at a restaurant/lounge where all the area musicians and service people (bartenders, servers, cooks, owners, etc.) hang out on their day off. Won't pay much, but WHAT FUN! I'll use a 145 with it and maby a Midjay with a controller for the times I can't coerce a drummer to play.

It's not for everyone, but if you fondly remember your B-3 days, you need to check it out!

Played Song For My Father last night with a couple of horn players and a guitar player....a 1/2 hour version trading "fours" and leads and didn't get bored (neither did the audience).

LOVE IT!

Russ (the "Mini-B man").

Russ, I just saw this. I'm nearly as excited as you are. It hasn't hit you yet, but just wait until the first time you pick this thing up, tuck it under one arm and suddenly realize; wow, I'm basically toting a 'B3' under one arm. I sure hope you got (or get) the Behringer expression pedal that I recommended in some past post; also that kb stand if you plan to use pedals. Truth is, I plan to get that Electro, as well. I've got a couple of boards that I could use as a second board but the thought of that 'red on red' is to tempting to pass up. Now, let me warn you of the dangers.

Once you get into the habit of plopping yourself down squarely in front of that organ, playing your own bass and stuff, EXACTLY the way you want everything to sound, (you have to have at least a drummer; a guitarist makes it heaven, add a great looking female jazz vocalist and you'll never go back home again ), you will never want to play an 'arranger' gig again (I can say that at the BAR, right?).

Anyhoo, don't treat it like the G70 (I know you won't). Make peace with those little red lights passing themselves off as drawbars and just remember things like the minimoog before there were presets. Take your time and find your favorite 6 registrations and save them in programs 1,2. You'll also find "live1, live2" quite handy. You'll soon have it configured so that you can quickly get to any of your favorite regs with max, 2 button pushes.

Congrats again. It's a great, great sounding board. Heck, we'll probably have ol' Cass trading UP in no time .

If I stumble across any good C1 sites or just jazz organ sites in general, I'll let you know. Then we can discuss (and dote over) this great instrument without sounding like the 'superior' a--holes (that we are).

chas

AMEN..

....as opposed to just plain a..holes .

Thanks, Chas. And, thanks for a meaningful critique of the rough Don posted for me. The fact that you were articulate about needing to know the intent of the piece (jazz, fusion or dedicated composition) says a lot about your experience/knowledge about jazz as an art form. Sadly, that piece was only a backing track and a small part of a larger project. I shouldn't complain, at least I get to do this work, which is satisfying in other ways (over-all effectiveness of the film, compensation, etc.). Believe adding B parts to pieces like this will be a perfect use for the C-1. Problem I've had occasionally with Leslies in the studio is noise...probably because of old capacitors. The Leslie effect is realistic enough to use recording, but a real Leaslie is GREAT live with this little monster.


R.

[This message has been edited by captain Russ (edited 02-29-2008).]

Ol' Cass won't be trading up any time soon. He's barely had the opportunity to play the XK-1. With vacationing down in FL for a month and then all the Easter stuff at church, he hasn't even had enough face time to get bored with the slab.

BUT, it is a tempting thought. Too bad there are no C1's around to try, 'cuz that might change my mind.

Then again, if someone with the initials FC wouldn't have swept a particular DC5m from under my nose, maybe I could have used that to add to a C1. (lol)

Anyway, I am happy for you Russ. In fact, I'm a little jealous, to be sure.

Cass..no no no...I talked to the same salesman that you did...I even waited till afternoon...Besides I seen you shopping it..so I knew you didn't want to use it...

So I wheeled and deal-ed..They shipped it out at 5 PM..

Roberto said you never came in again...I gave you the first refusal..and that is exactly what you did..

BTW: If you really need it...I will sell it to you...for $650 delivered..

The man has a heart as big as all outdoors .

chas

Fran, you misunderstand my comments.
I decided soon after speaking with you to test the waters. There were no bites here. I considered buying it, but then decided against it. It's all yours friend, free and clear.
I knew that as soon as I posted the Sam Ash info that you would probably grab it. That's cool.
But if you can get $650 for it, that's a lot more than you told me the market for it was ???
It's certainly rare enough and good enough for the right buyer.

Just kidding Cass..It will stay in my studio..and use it when needed...And I did tell you a good buy would be under $400..and a fair retail price around $500...But when you find someone that really wants it... ..$650 is in line..

BTW: The DisCover5 series is the most overlooked product on the market..The features it offers are still unsurpassed in today's market..How the unit handles SMF's with quick edits..Covers , markers, etc... and a great storage means too..The harmonizer is the same great one found on the G70...
You can also use it as a drum machine with dedicated markers for different sections..

If you work with other vocalist..you can assign auto key recognition for that singer's range..

This module was around $2,000..the keyboard model $2,300....They didn't sell well because of poor marketing and sales people with poor smarts...{What else is new}...

So when you add up all the pluses..and consider the original cost....$650 is not out of line in the pricing....If it were for sale..

The DisCover 5 line is also next to impossible to find..I have been looking for the DisCover5m for a few years...Thanks to Cass for locating one..

Yeah, I'm such a nice guy...

Hey Russ, I'm dying here. I'd love to hear more feedback on your initial impressions of the C1. Such as; do you find the on-board 'leslie' good enough to gig with? Have you found that magic non-leslie speaker system that SOUNDS like a leslie with the on-board sim.

I'm still looking for the 'perfect' (non-leslie) speaker system (C1 only). At the moment, I'm using a Mackie 808S with two older Cerwin Vega's with 12" woofer+horn. I like the stereo coverage but don't like the sound of the rig. I'm torn between replacing the C-V's with 12" or 15" EV's OR, waiting for the new Roland SA1000 that's supposed to be optimized for organ (whatever that means). I'm going to wait until I can hear one before I decide (look it up on the Roland site). I'm thinking maybe I can get away with just one. I guess you'd consider it a powered unit but since it's a two-piece unit, I'm not sure how different that would be from sitting my 808s on top of a good unpowered speaker (except for marketing hype). Anyhow, the fun is in the hunt.

Have you inserted the C1 into the rotation yet, or are you still experimenting? Inquiring minds want to know .

chas

Chas, I used the C-1 in the studio to go to final on a film score similar to the one you critiqued. I used my Motion Sound top box (rotors only) for Leslie effect, because i was gettig a line hum from the 145 in the studio (old capacitors, I think).

I played the first in what will be an every Sunday jam session at a restaurant where folks in the service industry congrigate on their days off. I am using the Motion Sound and a tube Bassman head with a twin 12 cabinet to try to get that real tube and doppler sound. It's pretty good, and I can leave the Bassman and Motion Sound at the club during the week. All my jazz friends are stopping by. Lots of "sit-ins".

And, I'm now booking duo and trio jobs from the Club where the B-3 is. Got 7 so far.

The three jobs with the C-1 have been GREAT!
Don't really like arrangers, but will use one for the rythem section and pianos when the budget is not sufficient for a drummer. That way, I'll feel better for "really playing".

This thing has really brought the enjoyment back into playing. Expect I will be using it on about 30% of my gigs.

Russ

Russ, that one sentence exactly captures my feelings about it. Nothing, and I mean NOTHING, will ever replace (the feeling of) a 'B3 and Leslie', including those times when you'd like to take a shotgun to it when it was feeling cantankerous , but from a practical point of view, well..........you can already see how it has changed your approach to accepting jazz organ gigs. I think it will eventually win over a few converts from the Hammond and Korg (Bx/Cx) ranks. I'm predicting that the weight will be the tipping point (no pun intended). Here's hoping you'll have a long and fruitful relationship with it and that through folks like us, it'll get wider exposure in the jazz organ community.

Man, finally a 'B3' solution for those vocalists that insist of singing in the key of B, and cannot/will not move to Bb OR C.



chas

The vocalist is ALWAYS right
Always.

Ya, RIGHT!
(Tonedeaf jerks!)


R.