Jim Alfredson

There are plenty! Still haven't gotten a firm word when it will be released. I think we may need to re-think the artwork we're trying to license. Hopefully by the end of January it will be out.

Yes, when working on a tube amp that is not discharged, you should keep one hand in your pocket. It will still hurt like a mofo if you get shocked, though. And then there is always the possibility of wiring something wrong and doing serious damage. I would get a tech to do it, unless you're extremely familiar with tube electronics.

Much to my surprise, last night I gathered together a bunch of tunes I've been working on in the electronic/ambient vein and realized I have over 90 minutes of music pretty much ready to go. I need to whittle it down to around 65 or so, but I'm curious if those who purchased "In Memorandom" have any interest in another solo disc of that kind of material from me? "In Memorandom" paid for itself (the cost of mastering / duplication) and that's all I'm really looking for at this point. I would need to sell 40 copies at $25 a pop to break even on this project. "In Memorandom" eventually sold all 100 limited edition copies (there are a few copies still available via the Big O Store, over-prints that are not signed) but it took about a year. It did pay for itself by the pre-orders, though. The new collection is more rhythmic, with layers of arpeggios, big thick analog pads, and sequences. I used mainly analog synthesizers this time around, including the Alesis Andromeda, DSI Mopho Keyboard, Studio Electronics ATC-x, and the Moog Voyager. The only digital synth I used was the plug-in Alchemy (an amazing synthesizer) and the Groove Agent drum machine software. Lots of outboard analog effects, too like the Moog phaser pedal. Even some organ courtesy of the Hammond XM2. Of course, that description doesn't totally encapsulate the whole project. Lots of variety, as with "In Memorandom". I can post some sound clips soon, but just trying to gauge the interest. Thanks!

A Hammond organ is very dangerous to work on if you don't know what you're doing. There's around 300 volts DC swimming around in there due to the tubes. 300 volts DC will KILL you. It doesn't matter if you unplug the organ either; there's still a charge in the capacitors for days. Get a tech unless you absolutely know what you're doing.

And if you zoom in far enough, you can slice out the waveforms on his computer, put them into your computer and when you play them backwards you hear Chuck saying "All hail Kenny G."

You can see the Schoeps on some Impulse covers. He liked that mic on sax. As Chuck will attest, the biggest mystery is what he used on bass. Chuck has seen the mic, described it to my good friend and studio owner Glenn Brown (who knows his mics backwards and forwards) and still the mystery remains.

I've always used the 6122, replacing the crappy switchbox that is included with real half moons. I don't know anything about the other kit, sorry.

Our publicist just hipped me to this: http://cleanfeed.wordpress.com/2010/12/16/neils-tessers-best-of-2010-list-jja/ How very cool! If you haven't already, you can get a copy at a new low price of $12 from the Big O Store: http://www.big-o-records.com/zen-cart/index.php?main_page=product_info&products_id=22 And here's a really great review of the record in JazzTimes: http://jazztimes.com/articles/26920-alive-and-kicking-organissimo

Just saw this. Thank you for the support!

Are you doing pedals? The bass is usually fine except for the very low-end of the pedals. Glad you're digging it. The strobe light is a good idea. I've been thinking about spray painting the horn white and putting a black light in there.

Cool, thanks!

C'mon guys. Are we that bored?

Keep in mind that the bass frequencies from Leslies are very dependent on where they are in the room. That's why I like the sub; no matter the stage, the acoustics of the room, the size of the stage, etc., I always have low, solid bass.

You won't know if it's enough until you try it. Take it to a gig and try it out. It may be fine for your needs. I have a friend that uses one with a real B3 and he does not use a sub.

I've never laid my 3300 on it's side, but after having it apart several times, I can say there's nothing in it that would get hurt if you did. May I suggest getting a cover made for it or using packing blankets. As for getting it in and out, I'm lucky that I usually have help. When I don't, I just man-handle it, using leverage to my advantage as much as possible. But that's a dangerous game and I try not to do that very often. Usually at a club, if I don't have help with me, I can get the door guy to give me a quick hand, since that's really the only thing I need help with.

just curious, what brand/model earplugs do you use? I had some custom molded ones, until I left them on the rental organ at the 2006 Detroit Jazz Festival and never saw them again. Bye bye $150. D'oh! Since then, I've been using these: http://www.sweetwater.com/store/detail/EarPlugPro/ They sound very close to the custom molded ones (ie, attenuating all frequencies evenly) but are cheap. Highly recommended.

For new tubes or the occasional NOS (their stock is constantly changing), I like these guys: http://www.tubedepot.com/12at7.html Otherwise, I use eBay.

I either have it directly behind me if it's high enough or off to one side, no more than a foot or two away. If the band can't hear it; well, that's what they make monitor speakers for. Either that or the rest of the band needs to turn down. I always wear earplugs on every gig I do. Even "soft" gigs can cause hearing damage due to the length of exposure time.

I have a friend who uses the 3300 with his B3 and he loves it. I don't know how to connect them, but it probably isn't too difficult. I think you can take a line directly off the pre-amp of the B3 without issue.

Marty, I recommend a NOS Tung Sol 12AT7. There are new tubes branded as Tung Sol, but I've tried them and don't care for them. Tung Sol tubes were used in the original Leslies. The 12AT7 has less gain than a 12AX7 and works in the 3300 circuit better, in my opinion. With the 12AX7, there's not much room as you turn up the tube gain before it gets into really nasty, almost fuzz-box territory. With the 12AT7, on the other hand, you can dial in some very nice "grunge", like a 122 overdrive, without getting over-the-top distortion. If you can't find a NOS Tung Sol, a NOS RCA would also be a good choice. I've tried NOS Philips as well and they are ok, but the bass isn't quite as good. For new tubes, the Electro Harmonix 12AT7's are hard to beat.

The "design problems" of these instruments are usually what give them character and "soul". I'm reminded of the story about how Hammond didn't like the excessive electrical key-click of his organs, caused by the mechanical 9-bus contact system under the keys, and so he kept trying different circuits to reduce that effect as the models progressed (BC, B2, B3, A100, etc). The rockers and jazzers, however, loved the key-click and many even modified their organs to produce MORE of it. One man's trash... This has pretty much already been done with the 3300. If you don't engage the tube circuit, the solid state amp is extremely linear and has very high output wattage (300 watts compared to a regular 122's 40 watts). The modern motors Hammond now uses in all it's Leslies are sealed bearing, DC motors that are extremely reliable, quiet, and never need oiling. The MDF cabinet of the 3300 eliminates a lot of resonance due to the material, though I think it could be a bit better. But you very quickly run into a brick wall in terms of acoustic design of a Leslie cabinet because it IS a Leslie cabinet and needs to have the rotating bottom baffle and the rotating upper horn. That really limits what you can do in terms of design. With all respect to your friend, it sounds like he's re-inventing the wheel.

Considering how much all my kids love my iPhone (including the 14 month old), I can understand the iPad. Doesn't mean I'd buy my kids one, though. Presents for a five year old: Books. Art supplies (craft stuff). Stuff that will hopefully help her become a creative member of society rather than a consumer.

I'm not sure where it came from. I didn't add it. Perhaps Weizen did. I like it, thought.

It's the most wonderful time of the year.... again.

What, no Metheny in the list? The sky is falling!!!!