Nord User Forum

Mooser wrote: And when is somebody going to make a clone-wheel that fades and loses pitch when you turn it off, like the tonewheel organs? Now, that would be a cool feature, and essential for certain retro-prog-rock groups.

This feature is already present in the Kronos (and Oasys) CX3 clone...

Qtipcore wrote:This feature is already present in the Kronos (and Oasys) CX3 clone...

Not mention the Roland VR series too.
You can kind of accomplish the same effect with the Nord Stage series by turning on the pitch stick in the organ section (I know, it doesn't help the C1 and C2 users)

Hi Jason
I tested the settings you menitioned.
I think you are right - and that the problem is probably the TG callibration of the fold backed notes on the last octave.
The B3 has different resistance for various notes
Note 37 1" tone 85 has 0 Db 24 Ohms
Note 49 1" tone 85 has - 3.5 db 34 ohms
Note 61 1" tone 85 has - 3.5 db 34 ohms

So Note 49 should sound 3,5 db lower than 37 but I think it should still add some loudness. Same goes for note 61

Could you test the following on your B3 -
Pull out the 8 foot and play note 37 c from above. Then add note 49 and check if the loudness goes upp somewhat.
Then add the last note 61 and check if the loudness goes up even more.

Then test the reverse
Play top C first then add next C and next and check how the loudness builds on your B

Listen if the added C´s have different leakage compenets to them. This might also explain why the seem to stick out more clearly.

Regards Frederick (Nord and Hammond Nerd)

"Showed up all the defeciencies in my playing in the exact same way" HA HA!!
Frederick- I did talk to nord and they checked the settings I refrenced and determined it was a difference in how they set up the foldback using three different hammonds they have on hand to copy.
Anyway on my b3 when you pull the 8 foot stop out and hold down C 37 then play c49 - 49 is just slightly louder in comparison but C 61 is quite a bit louder than 37

heres the difference though pull stop 8 out play middle C instread of C 37 and combine middle C with G 20 below middle C and hold that like a "pedal tone" then every note above middle C is too quiet untill you get to about note 41 - the notes 32 through 40 are particularly bad and are almost indistinguishable.
Pull out the 16 foot stop and repeat this an octave up= same thing, the G in the "pedal tone" below C49 drowns out the G above c 49 through about the E above. Make sense? Im talking drowned out- you really cant hear any notes for half an octave- thats messed up!
this doesnt happen on my B 3 at all and I dont recall it on the b 3 I owned previously nor on any other hammond I have played- m 100's m-3's.



I am suprised no one else has noticed that including the R+D team.

Its just taking getting use to and avoid playing on the same manual with both hands on certain stop cettings- I have been spoiled never having played anything but B-3s but I dont want to haul one around all the time anymore

Hi jason
I have also noticed that if you play hymns gospel style LH RH close harmony the melody line seems to be a little less clear than what I hear on the gospel records I have where the melody always cuts through clearly on a Hammond.
Your test where the pedal tones masks the top tones could be the same phenomena.

The more tests you can do and post the higher the chance of the Nord guys being able to pin point the problem.


Regards frederck

Example of close position hymn playing.
Jason if you play this type of music it would be interesting to hear your opinion on how you think the C2 responds.

Regards Frederick

As mentioned by oldtimecrank in the other topic at this forum http://www.norduserforum.com/nord-c1-c2 ... t1676.html

"As such, they went with a less hammondlike tone that would sound better with their simulator knowing that the majority of their users would not be crating an actual 122. Hammond, on the other hand, went with a more authentic hammond tone that would sound more authentic through an actual 122 and slightly less through it's internal simulator"

That makes perfect sense to me. It doesn't make big difference to me as I don't use Leslie cabinet but I would seriously consider other brand if I would need just a pure B3 tone to use with Leslie cab.

It could be that C1 pure tone is more precise then C2 even pure tone+Internal Leslie SIM combination works better on C2. It would be nice if someone who's got both C1 and C2 compare them

I have both nord organs C1 and C2.
The organ output pre Leslie is much closer to the B3 on the C2 than the C1
Tg callibration is better
Note off click is better

Any idea how C2 pure tone (without Leslie SIM) sounds comparing to Hammond XK3?