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Am interested in 2 pairs or more (Good used, but can consider even if blown, as long as the price is right).
I would like these shipped or delivered to Billerica, Massachusetts 01821-3703, so distance might be an issue.
PM me with offers,
Conrad

"I'm sorry, Dave, I'm afraid I can't let you do that...."

What'd I  do?

I leave everything on, unless the musician(s) power it down.

Probably a stupid question, but was it powered up correctly? The B3 has two motors. The start motor is engaged first for a few seconds until you hear the tonewheels spin up to speed, then the run motor is engaged to keep them spinning. The run motor doesn't have the torque to get things started on it's own.

But every B3 player knows this, so that's probably not it.

"We" had acquired a preference for sounds to be distorted in certain ways and called it "rich, creamy, analogue goodness."  The more component drift, the less compliant (or rotted) a loudspeaker suspension, friction, mechanical slippage... the more "we" loved it.  Now we model the circuit response and create digital plugins of Our Preferred Distortions.

There are a couple dozen reasons that B3/122 packages from "real" backline providers come with a hefty price tag, and there are still enough players that know the difference to keep those instruments rented out.

Probably several good "inside the Hammond B3" videos on the intertubes and maybe folks will link a favorite, but the take way will be "wow, I didn't know....."   Whole lot of points of failure in that box.

And as much as modeling is fascinating to me, it can't match the real thing precisely because it's predictably the same every single time you use it. I used a LOT of the gear that is modeled now and the drift and unpredictability was a huge part of the mojo that made them great. It also made me CRAZY when it didn't work the way I needed it to. Ot when it didn't work at all....

I read an article sometime ago talking about the draw, appeal, sound, ect that a lot of people have and like in vintage amps, processors, keyboards and so on. The article went on the mention that the sound today of a 60...or more year old piece of electronic equipment is most likely not how it actually sounded when it was new unless it has been maintained over the years.

"We" had acquired a preference for sounds to be distorted in certain ways and called it "rich, creamy, analogue goodness."  The more component drift, the less compliant (or rotted) a loudspeaker suspension, friction, mechanical slippage... the more "we" loved it.  Now we model the circuit response and create digital plugins of Our Preferred Distortions.

There are a couple dozen reasons that B3/122 packages from "real" backline providers come with a hefty price tag, and there are still enough players that know the difference to keep those instruments rented out.

Probably several good "inside the Hammond B3" videos on the intertubes and maybe folks will link a favorite, but the take way will be "wow, I didn't know....."   Whole lot of points of failure in that box.

I read an article sometime ago talking about the draw, appeal, sound, ect that a lot of people have and like in vintage amps, processors, keyboards and so on. The article went on the mention that the sound today of a 60...or more year old piece of electronic equipment is most likely not how it actually sounded when it was new unless it has been maintained over the years.

Which is why a surprising number of old school guitar players are switching over to modeling, including The Edge from U2. It's just too difficult to keep an arsenal of these things working night after night and still deliver a consistent result for an audience.

The other day I read an article about the future of AI that pointed out that if an AI were to become self aware and hostile to humans [for whatever reason] the likely first thing it would do would be to disguise it's actual capabilities. After all, if humans knew it was self-aware they'd likely unplug it...

"I'm sorry, Dave, I'm afraid I can't let you do that...."

Arthur C Clarke enters the thread

The other day I read an article about the future of AI that pointed out that if an AI were to become self aware and hostile to humans [for whatever reason] the likely first thing it would do would be to disguise it's actual capabilities. After all, if humans knew it was self-aware they'd likely unplug it...

I think this is one of those cases where it helps to know the particular piece of gear (not just B3's, but THAT B3 and THAT Leslie). I've seen vintage gear that would run fine for a few hours and then start acting up, and I've seen vintage gear that was a crap shoot as to if it would fire up, but once it did it was fine.

Tubes, old caps, and moving parts. It really is a tough call between running hours and power up/thermal cycles.

I read an article sometime ago talking about the draw, appeal, sound, ect that a lot of people have and like in vintage amps, processors, keyboards and so on. The article went on the mention that the sound today of a 60...or more year old piece of electronic equipment is most likely not how it actually sounded when it was new unless it has been maintained over the years.