Jim Alfredson

Admin
  • Content count

    12,645
  • Joined

  • Last visited

Everything posted by Jim Alfredson

  1. NEW CD now available for pre-oder

    Sorry for being MIA around here. If you ordered the bonus tracks you should've received an email over a month ago that they were ready for download. I just resent the email to all those who ordered the bonus tracks. Check your spam folders. Flurin, I sent your CD but if you didn't receive it, I'll send another. If you still can't find the bonus material, just PM me and I'll send you a link.
  2. New DONATE button

    Yes. I've gotten some via postal mail, but maybe a few hundred dollars worth.
  3. THEO - The Game of Ouroboros

    Last year I released my debut progressive rock album THEO - The Game Of Ouroboros. I'm very proud of it. Here's a few tracks off the album, which is a pseudo-concept album set in a dystopian future of one-world corporate government. Limited edition Blu-Ray with 24bit/96kHz 5.1 surround mixes is still available although I only have a few dozen left. Also available on CD and hi-res FLAC / mp3 download. http://www.big-o-records.com/zen-cart/index.php?main_page=product_info&products_id=31
  4. Pattye Ludwig, Gene's widow, is offering these for sale direct for $15 plus $2 shipping. Contact her at pattyeludwig1@gmail.com. Yes, you can buy it from Amazon, but buying from Pattye directly puts more money in her pocket. She only has 25 copies, so get one now! This is an incredible collection of music, capturing a quintessential 1960s organ trio at the height of its powers. I've heard this before as a bootleg, but the new remastering is fantastic and it sounds really great. Pat Martino is at his intense best. Randy Gelispie (who is still playing and indeed is on my latest release, Jim Alfredson's Dirty Fingers - A Tribute To Big John Patton) shows why he's one of the most underrated jazz drummers alive today, and Gene Ludwig is absolutely on fire. From the blurb on Amazon: "From Pat Martino's private collection, here is a mid-1960s live gig featuring the B-3 artistry of Gene Ludwig and drummer Randy Gelispie. Rarely, if ever, have these artists played with more inner fire, more unbridled virtuosity and pure unadulterated joy as they did here, captured in the full bloom of their musical youth. Pat Marino's burning swing and impovisational wizardry takes on added zip with Gene Ludwig manning the B-3. With the colorful, propulsive drummer Randy Gelispie driving things along, this is one gig which surely deserves a "legendary" epithet."
  5. NEW CD now available for pre-oder

    Nope. Just been an insanely busy summer. They are coming soon!
  6. Bass Pedals and exp-100

    Well, there are two things at play here: Firstly, the contact system in a real Hammond organ is comprised of buss bars. There is one bussbar for each drawbar, so 9 total per manual (keyboard) stacked vertically under the keys. The famous "key click" of a Hammond is the result of little wires under each key making contact with those buss bars. If you pull all 9 drawbars out and very slowly press a key you can actually hear each individual contact (1 through 9) for each drawbar being made. The pedals are similar. There are two drawbars for the bass pedals and each drawbar has two buss bars associated with it; one for the regular tonewheels and one for the "complex tonewheels" that are exclusive to the pedals. So... on a real Hammond, when you tap very fast and lightly, it is possible to barely make a connection with just one bussbar, resulting in no pitch but rather a percussive transient on the front of the note. This is much more difficult on a digital organ / Hammond because there are no buss bars. Digital is perfect. When you press the note, it triggers. There's no slop, no analog electrical connection being made, it's just ON. Secondly, your tapping has to be REALLY short, even more so on a digital organ for the above reasons. Make sense?
  7. Our recently completed bathroom remodel cost $18k. The room was already gutted by me and I also did the tile flooring myself. The contractor built the shower (no steam shower) which is a 4 x 4 with glass door and subway tile, re-used a dresser we found for the sink vanity, and did all the finish work including re-hanging a severely crooked door. But the plumbing was really simple (probably could've done it myself) as was the electrical. I couldn't really believe how much it cost. Except for the actual framing (which was tricky due to the weird shape of the room), I could've done pretty much the entire job myself. However, with my schedule, it would've taken 9 months to complete instead of a few weeks. So... But yeah... it's expensive.
  8. band videos

    Sorry for not replying. Let me know what you think.
  9. band videos

    That's a cool feature in Premiere! I used Premiere for years back in the early 2000's and downloaded the latest trial version in 2013 when I was making a DVD of the Dirty Fingers album. But I couldn't even figure out how to get video on the timeline! They had changed it so much and it was utterly confusing to me. So I just went with Vegas. Might be time to re-assess. The XPK-200L are nice but take some adjustment if you're used to playing full-sized Hammond pedals.
  10. The Electronic Music Thread

    Not sure if this has been discussed here before or not. When I was a kid, my dad and I were really into electronic music. Not electronica, but electronic music, ranging from old Tangerine Dream to Vangelis to Wendy Carlos to Tomita to Steve Roach to a million others I'm forgetting. When I was a boy, I used to fall asleep to the program Hearts of Space that used to be on WKAR here in Lansing. My dad made hours upon hours of his own "ambient music" as he called it that I've started to go through since his passing. It's pretty interesting stuff; very minimalist and meditative. Anyway, I recently downloaded (from iTunes) two fairly modern Steve Roach albums. "Possible Planet" is my favorite so far; it was creates solely on an analog modular synthesizer system with no MIDI, no keyboard interface, no sequencers. It's a collection of self-oscillating patches run through various reverbs and delays and filters and it sounds really organic. It's just textures and sounds floating in and out. My wife hates this stuff, but I find it very interesting. The other is "Proof Positive" and it's more rhythmic than the other, but I think it was still created on an analog modular. Just wondering if anyone else is into this stuff and what you might be listening to.
  11. Hammond xk3c custom toneset

    The XK1c has spring reverb. I know that for sure. So if the XK3c doesn't have it, then they are not the same. Do you own an XK3 or XK3c?
  12. Hammond xk3c custom toneset

    Hi! Yes, I do have a custom tonewheel set. PM me your email addy and I'll send. I don't actually own an XK3c so I can't help on reverb settings, unfortunately. The cool thing is that the XK3/XK3c has an FX loop, so if you can't get the reverb sounding like you want, you can use an external reverb unit. Even a real spring reverb if you wanted.
  13. Musicians - Post Your Music Here!

    A fellow member came up with the idea of a central place where musicians who frequent this board can post about their CDs and other music. This thread will serve as that place. Self-promotion rules here, so don't be afraid to link to your CD, reviews, etc. I hope most everyone here knows by now that organissimo is not just a forum but first and foremost a band. We have two CDs out, available from CDBaby and Amazon.com. You can check out our homepage for more information. We're currently in the planning/rehearsal/writing stage of our next project. It's gonna be loads of fun. For even more fun, check us out on YouTube: http://www.youtube.com/results?search_query=organissimo There are three videos up on YouTube. I'll be putting up some more very soon (probably one this afternoon, in fact.) I should mention I am also the musical director / keyboardist for a great blues band called Root Doctor. We have a CD out as well that has gotten a lot of positive press, available at CDBaby and Amazon.com. We're currently tracking a new one. Member GregN here on the board is the guitarist/mover & shaker in the group. Okay, fellow musicians. Your turn!
  14. 2017 Fundraising Goal

    Hello everyone. Well, I've been remiss and just reset the funding goal (on the right side of the main forum page) for 2017, even though we're two months in and I've paid $300 for the server out of my own pocket for those two months. As usual, Paypal to me (b3groover@hotmail.com) or check to the po box. Jim Alfredson PO Box 27551 Lansing MI 48909 Thanks! ----Jim
  15. Rudy Van Gelder interview from 1995

    Best quote: What are your feelings on digital versus analog? The linear storage of digital information is idealized. It can be perfect. It can never be perfect in analog because you cannot repro­duce the varying voltages through the dif­ferent translations from one medium to an­other. You go from sound to a microphone to a stylus cutting a groove. Then you have to play that back from another stylus wig­gling in a groove, and then translate it back to voltage. The biggest distorter is the LP it­self. I've made thousands of LP masters. I used to make 17 a day, with two lathes go­ing simultaneously, and I'm glad to see the LP go. As far as I'm concerned, good rid­dance. It was a constant battle to try to make that music sound the way it should. It was never any good. And if people don't like what they hear in digital, they should blame the engineer who did it. Blame the mastering house. Blame the mixing engi­neer. That's why some digital recordings sound terrible, and I'm not denying that they do, but don't blame the medium. A lot of people argue that digital is a cold­er, sterile sound. Where do you think that comes from? Where does it come from? The engineers. You've noticed they've attributed the sound to the medium. They say digital is cold, so they've given it an attribute, but linear digi­tal has no attributes. It's just a medium for storage. It's what you do with it. A lot of this has to do with the writing in consumer magazines. They've got to talk about some­thing. http://jazzprofiles.blogspot.com/2011/05/rudy-van-gelder-signature-sound.html
  16. PM Function Working???

    It works. Sorry I didn't reply but I did approve your friend for membership.
  17. NEW CD now available for pre-oder

    They will this afternoon. Got everything boxed. I'm a bit behind because I had gigs all this weekend out of town. But yes. Everything will ship today or at the latest tomorrow.
  18. Best Hammond Organ Clone 2017

    Well, you already have an XK3c. The SK2 sounds like that, but with a slightly better Leslie sim. So you already know what you're getting. The KeyB Legend looks pretty nice. I think it's slight above your budget? Can't recall at the moment. The Uhl is interesting but the last time I heard the Leslie sim, I thought it was mediocre. They may have fixed that. Either one is probably a good option.
  19. Rudy Van Gelder interview from 1995

    This thread has taken a strange turn.
  20. Rudy Van Gelder interview from 1995

    I hope you stick around, too. I apologize if anything I said came across as offensive, which was certainly not my intent. But I'm pretty sure from your post that everything is cool between you and I. I re-read this thread, too and was reminded that I should do the experiment I wrote about above consisting of recording a source through two of the same interfaces but at different bit-rates. I could do that with my desktop DAW and my laptop DAW, both connected to an individual Steinberg MR816x interface and each interface fed the same audio signal from a microphone via a splitter. One interface would be set to 16bit 44.1kHz and the other to 24bit 44.1kHz. That would be a very interesting experiment.
  21. band videos

    I use Sony Vegas 13 to edit the videos. I believe Sony sold the software to another company and they are up to version 14 now, but I am still using 13 because it works. Essentially, I use four cheap Go-Pro knockoff cameras (SJCAM SJ4000) positioned around the stage. I also multi-track record the audio separately using a Macbook and Presonus interfaces to capture the audio. I then dump all those files to my computer and mix the audio first in Cubase. Then I export the finished mixes and start the video editing. To edit the video, I first line up the files from the four cameras in Vegas by hand. I start one song at a time since without timecode the video files drift away from each over the course of 10 minutes or so. So it's not possible to just line them up once and let them fly. I use the onboard camera audio to line them up. Once the four videos are lined up, I line up the mixed, multi-tracked audio to them. Then I make adjustments, since usually the video looks better if the mixed audio (and the camera audio for that matter) is shifted just a hair backwards from the video. And then I go into multi-camera mode in Vegas and switch between cameras with the number pad. That's the main reason I use Vegas; you can switch between up to four cameras and it automatically makes cuts, mutes the non-used clips, etc. It's fairly easy. I think Adobe Premiere has a similar feature.
  22. Best Hammond Organ Clone 2017

    As you may have gathered asking this question in other forums / FB posts, it's a loaded question that contains a lot of emotional reactions, bias, and of course subjectivity. My own biases are towards Hammond Suzuki, since I'm an artist with them but I will preface that by saying that I approached them, not the other way around. And as of this writing, they have not given me any digital organ for free; I paid for my XK System that I used with organissimo and others from 2008 to 2012 and I paid for my SK2 that I use now, albeit a discounted price. With that out of the way, I have played all the models you're considering with the exception of the KeyB Legend. I currently have a student that owns a Mojo, so I play it several times a month during our lessons. Before I give my impressions, note that I have owned and used the VB3 software for going on 10 years. I still use it in some of my work today though usually it gets replaced by either a real tonewheel console or the Hammond SK1 / XK1c. Concerning the Mojo, the short version is that I am not impressed by it. I think it sounds overly processed, the bass is rather flabby and ill-defined, and it has a strange latency that I can't believe other Mojo users don't notice. I honestly do not understand why it is as venerated as it is among organ enthusiasts. When I play it, I feel like I'm playing a synthesizer's idea of what a Hammond should sound like. I don't know if that makes sense. I think the chorus/vibrato is very good, the percussion is good, and the Leslie sim is good, but the overall tone and especially the latency or maybe better put the feeling of disconnect between my fingers and the sound really bothers me. I will say this: Whenever I use VB3 to demo a song, when I replace it with either the real deal or the SK / XK1c, the replacement fits so much better in the mix. The XK5 is a different beast altogether. It is way beyond the XK3c, which is a great board. If you are an organist, if you have any familiarity with the real console tonewheel Hammonds and how they feel, then you will understand why the multi-contact system in the XK5 is so important. If you've never played a real Hammond, then you might not understand. I really think the XK5 is the best Hammond emulation on the market. But yes, it's expensive. And big. The KeyB Legend sounds really nice but I think those two videos from NAMM that show Cory Henry playing both the XK5 and the KeyB Legend speak volumes. The Hammond responds like a Hammond should and you can hear it in his playing and how he plays it. The KeyB sounds nice but it doesn't respond like a real tonewheel organ and for guys like Cory that literally grew up at the console, that's a big deal. Playing a clonewheel changes the way you play. It's the same for an acoustic piano vs a digital piano. You have to play a digital piano differently than a real acoustic. Same for a clavinet. It's REALLY easy to emulate the sound of a clavinet yet nothing emulates the actual feel of playing one. And once you play a real one, you understand why it is played the way it is; why Stevie Wonder came up with those funky clavinet lines on Superstition and other tunes. The actual feel of the keyboard makes you play a certain way. I'm still happy with my SK2. It sounds great. The XK5 is far superior though and there are moments in playing the SK2 where I try to pull off a technique that would sound so great on a real Hammond or on the XK5 and it just doesn't work. Case in point is this video. The sound, I think you'll agree, is killer. But dig when I do the glissando up to the high C during my solo at about 2:14 or so, it just doesn't sound authentic. This is because of how the SK2 and every other clone except the XK5 triggers the notes. On a real Hammond, doing a fast glissando like that would mean that not all the contacts under the keys would necessarily close nor would they close at the same time, making the sound almost like a 'wah wah' effect as you glide up. In other words, it would be more organic, less perfect, less stiff. So it boils down to two things: 1) What is your budget and 2) Is authenticity more important than weight / cost? Hope that helps.
  23. A cover of the Jimmy Jam / Terry Lewis R&B classic.