Nord User Forum

Hello..Chorus Vibrato C3 is not rich enough i.e. no scanner quality and it is too warbly (for want of a tech. term:-)). Also 3rd percussion is too thin and pingy, (needs to be more woody) particularly in upper registers. Be really great if Nord could address these issues..Just so I don't sound too complaining..I love the action, key click, and leslie simulation. The overdrive, reverbs, echoes and EQ work well although a spring reverb sim. would appeal to most Hammond players.
To conclude, improvements to C3 vibrato and percussion would be a huge improvements. Regards Ray

I have just replaced my C1 With at C2, the difference is huge. Especiall the built in Leslie simulation With Close up mic and the ability to adjust output volume between horn- and bass-rotary. The vintage B3 sounds are also far better than its predecessor.

Hey Ray - Is it possible that you're too used to your Hammond, and want the C2D to be an exact replica ? I only say this because, I've played B's and C's all my life, and each one had a slightly different personality. Usually depending on their age and use. I'm told, the Nord guys have like 3 B3's in the lab they use to replicate, and My guess is, they were all tech tuned to act and sound like new. Just sayin'... That said, I did like the percussion control screw on a Hammond pre-amp that allowed one to thin out the attack. Perhaps a similar setting control on the C2D would help with what you'd like ?

Agree. It seems that most people who are complaining on B3 Organ sound are most of the time people who own a real one with a Leslie 122 to compare....I was the happy owner of an L100 plus Leslie 147 in the past but it was such a long time ago that I think my C2 with the C2D engine update is awesome...When I bring some stuff to repair to my technician who has an old B3 and Leslie 122, I'm disappointed or maybe surprised compared to my feel with the C2....And the rebound/Organ action of my "new" C2 is way better that the noisy action of his B3, so, you're right about that.

And, here's another pet peeve of mine, and how I deal with it. I'm talkin' about when another musician just has to make the comment like "Yeah, that thing sounds really killer, really great but, there's nothing like the real thing, though!" So first (under my breath) I say "A-HOLE!" Then, the audible response is, "Yeah ? Which one?!?" Line up 10 B's and Leslies, put my C2D rig in the middle, do blind sound test, and I challenge anyone to find the NORD. They're all different, some sound like sh*t, some sound great so, quit trying to sound like a real deal expert, and imply that I'm cuttin' corners!" Bam!! SCHOOLED!! Ha, feel free to use it. Can't tell you how many times someone in the audience comes up ans says, "wow, I thought I heard a B3 up here!" "Thanks sir, really appreciate the positive feedback. What you heard was something that a B3 is supposed to sound like. Hammond B3's are also supposed to 'sound' like B3's, but don't always do so. Many don't sound as good as this." Again, BAM! (politely schooled) . Go git'm, Ray!

The Franchise wrote: And, here's another pet peeve of mine, and how I deal with it . . .

And you've succeeded in humiliating and alienating a member of the audience. I read their comment as trying to show you that they are hip to Hammonds and Leslies rather than implying you're a slacker. But that's just me. I'd probably tell them "You're right. Nothing sounds like the real thing." and be done with it.

I try not to humiliate the audience, though sometimes it takes an effort. Like when a bass player comes up and says "When are you going to get a real bass player?" (This actually happened. I'd like to hear him try that with Neal Evans). I told him the drummer approves the bass player so go talk to him. That was fun.

Regarding the sound of the C2D, I play live through a modified 122 and in the context of a loud-ish jazz/funk band it does very well. Yes, there are things I wish were better. I'm not crazy about the chorus implementation, but in the context of the live show it is not an issue. I am not enamored with the Leslie simulation either; it cancels certain bands of frequencies. But since I play through a Leslie I don't use it. Sometimes I think the percussion is too loud, so I may have some tweaking to do there.

I have done gigs without the Leslie. For a stage monitor I use two Yamaha DXR10s, both mounted on one tripod stand and angled at 90 degrees. I also run a stereo feed to the FOH. That setup works well.

If I were playing in a jazz trio then maybe these subtleties in tone would be more noticeable, but I would probably be the only one to notice.

I am witchoo on pretty much everything. In fact, I have to believe my thin skin about audience comments likely comes from my own guilt of not having the stones or muscle anymore, to haul around a B and Box. And I know I sounded snarky the way I explained it here but, I'm respectful and offer my responses to people in a way that's friendly and just making a point. BTW, on most of my gigs, I use one or 2 QSC K12's. Killer!! PLay on, Brother!