The Cuckoo Waltz

[@wimdewinter9786]

Splendid playing. Do you know this melody at the organ of Eddy de Jong, Ken Griffin and Cor Steyn?

[@HAMMONDGuy-B3X66]

Vielen Dank. Ich freue mich über Ihre Kommentare und bin froh, dass Ihnen gefällt, was ich auf der Hammondorgel spiele. Der Hammond Guy

[@Egsch35]

Sehr schön, Ds hört man selten.

[@Jordi_Ventura]

Very nice sounds 👍

[@larrycates7512]

I like the reiteration. How is it produced?

[@HAMMONDGuy-B3X66]

Still experimenting with how to do this in the best way; at present time, my circuitry for this is external to the B3, in part because I want to keep it as close to original as possible. Very quick summary: gate signals from selected busbars using an LFO to produce square waves to control the gating. Also includes a circuit that will select either the highest or the lowest note played (if playing more than one simultaneously). to get the effect on one note only if playing chords. My philosophy regarding doing this is to develop interesting effects and yet preserve the original Hammond's integrity and all changes should be additions without sacrificing anything that was part of the original. Or, stated another way, it must always be possible to return the B3 to a factory original by removing non-integral alterations that I might add which means no boring of holes in the console woodwork, or permanently removing any original Hammond parts. A B3 is a stand-alone legacy in a sense, but that does not preclude devising modifications to add to its musical possibilities, just as a Trek II string bass accessory should be installed to work IN ADDITION TO, and not to replace, the original pedal tones. Next in my plans will be to add MIDI capability as time and money permit. Likewise, a variable speed drive for the vibrato scanner, because even though I think the Hammond vibrato is the best sounding electronic vibrato ever devised, at 412 RPM, it's too fast. Ideally, it should run at 360-375 RPM. (like it does in the X66 and the H100 instruments. In a sense I like to know as much as a can about "both sides" of the keyboards; that is, the playing of music, and the theory and working of the instrument.