Nord User Forum

Hi,

anyone here having experienced this Tube Amp Organ Drive: https://tubeampmanufactur.de/en/organ-drive-orgelkeyboard-verzerrer/ ?

I have been offered a used one at a very good price but am not sure if it's really worth to use in combination with the Stage 3 B3, HoF and the Ventilator II, going mono from the Stage into the Hall of Fame, then mono to the Organ Drive, from this mono into the Ventilator and the stereo into the PA. Hoping to get a nice crunchy distortion at even low volume level by this ...

Best regards, Georg

No experience or something I have read about online, but I have seen some recordings at Youtube.
I found it too expensive with very few reviews from new
It think to remember it are on the hotter side, like Jon Lord, but also a bit difficult to balance.
Edit: I can see the YouTube clips are also at their homepage.

Also some buyers reviews at Thomann : http://www.thomann.de/dk/tube_amp_manuf ... _drive.htm
( Change to your own country for pricing and reviews after your settings)

I am in doubt if it will work well if you are thinking about running it after your onboard Leslie-effect.
My setup would have been something like Dry out from NS and then some kind of boost like Loundsberry Tall&Fat, or this Organ Drive and then into a Neo Ventilator.

Edit, hadn’t seen your signal routing, it seems like I would have done it.

Hi!

I recently bought one, and I am very happy with it, both for light distortion and for heavy distortion. For my ears it sounds better than the Ventilator's onboard distortion, but I must admit that the difference in sound quality is not that big as the ventilator sounds already very good.
I think that the youtube videos are not that helpful. For my ears the real distortion sounds far warmer than in the videos.

Good luck

No direct experience, but I've looked closely. Positive: most likely can create a wide range of very authentic tube distortion sounds. Negative: looks to be near-impossible to use in a live situation where you're frequently changing from preset to preset. Net-net: an interesting but pricey studio toy.

cphollis wrote:No direct experience, but I've looked closely. Positive: most likely can create a wide range of very authentic tube distortion sounds. Negative: looks to be near-impossible to use in a live situation where you're frequently changing from preset to preset. Net-net: an interesting but pricey studio toy.

I think a pedal like this could be as good for live use as "the real thing" is. In the old days, a keyboard player with a tube amp, just as with a guitarist, just looked for their one sound. If you had a Fender Twin, that's what you played your Rhodes or Wurli or Clav or organ (if you didn't have a leslie) through. You didn't alter your amp or its settings depending on which keyboard you were playing. So I would look at a pedal like this to get one good tube-y sound, switch it in when I was playing those sounds, switch it out when I was playing other sounds where tube distortion would be an impediment rather than an enhancement (like acoustic piano or orchestral instruments). Synthy sounds probably can benefit from the tube as well. If you're doing a split or layer with sounds from both categories, you'd need to take advantage of whatever abilities your board has to assign different sounds to different output jacks, or live with a compromise like not putting your split/layered sound through the tube at those times when you're combining that sound with piano.

I think it's possible to modify the settings on-the-fly since it can be placed either on one of the instrument (the left space on a Stage 3 88 should be enough) or in reach just next to where you are standing/sitting, at least to switch between clean and dirty/crunchy but also modify the parameters to some extent - it's available as a pedal or with manual switches. I'm still hesitating but think that I will give it a try and see how it works, maybe next week .... will post my experience here if I decide to buy one

I have a 1969 L100 Porta B 'AO43' with built in double 122 kit.Also hanging the original verb spring off it.Kicks pretty hard into a 122 with a Nord Stage,Electro,C2D! More console than spinet!
Next? An AO28 Hammond B3 preamp with expression pedal,hanging off the Nord of my choice.Get real,try that synth volume pedal? Now try that Hammond 'expression pedal' with an AO28?
Hear the top octave 'tamed' finally? Hooray,the dead give away is hidden now! Yes,some of us can hear the difference,most evident up top.
Easy test,that's what the RCA input on the B3/A100 doghouse is there for(minus expression)? Once you've heard your clone through this stuff.......you will understand.
Even into a Ventilator the AO28 will add mojo to a static, lame (but useable) model like a Stage 3.
15 pounds of sonic glory! Heck,controllers were 75 pounds back in the day! As for the three people who will actually notice the difference? I commend you on your observations! ;>)

Quick question regarding the signal routing - which would you prefer:

1) Reverb into Organ Drive (distorted reverb)
signal path: Stage 3 mono -> Hall of Fame mono -> Organ Drive mono -> Ventilator stereo -> PA

2) Organ Drive into Reverb (reverbed distortion)
signal path: Stage 3 mono -> Organ Drive mono -> Hall of Fame mono -> Ventilator stereo -> PA

Since reverb is a room effect, I tend to put it at the very end of my signal chain.

cphollis wrote:Since reverb is a room effect, I tend to put it at the very end of my signal chain.

Me too usually - but isn't the reverb on a real B3/C3 before distortion?