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Thinking Caps on Again

PostPosted: 03 Aug 2013 11:31
by Abacus
In the late 70s early 80s there was an artist who played a particular brand of organ; and they were able to produce a sound out of this organ that was not in the standard set, which they used for one particular piece of music.

Questions are:

1. Who was the Artist?

2. What was the brand of organ?

3. What was the music?

4. What was the sound?

And for the techies amongst you

5. How was the sound produced?

That should give something mull over your Tea and Biscuits.

Happy Thinking

Bill

Re: Thinking Caps on Again

PostPosted: 03 Aug 2013 14:16
by Wally Gator

Re: Thinking Caps on Again

PostPosted: 03 Aug 2013 20:16
by Mike Bracchi
Blimey Bill .... think you might need to give us a clue on this one :lol: :lol:

Re: Thinking Caps on Again

PostPosted: 04 Aug 2013 00:17
by andyg
Bang!

That enough of a clue?

I'll happily give you the answer tomorrow if no-one's got it by then. I played the same piece in a different style and got the effect in a different, but also 'non standard' way - if that helps!

Re: Thinking Caps on Again

PostPosted: 04 Aug 2013 11:29
by Craig
Possibly Klaus Wunderlich but on a Hammond organ rather than Wersi?

Re: Thinking Caps on Again

PostPosted: 04 Aug 2013 11:30
by Mike Bracchi
andyg wrote:Bang!

That enough of a clue?

I'll happily give you the answer tomorrow if no-one's got it by then. I played the same piece in a different style and got the effect in a different, but also 'non standard' way - if that helps!



Hmmmmm, would it be something to do with 1812, I seem to recall hearing that at some point around the time I worked at COS, I'm blowed if I can remember who it was playing or what it was played on ... that's assuming I'm even on the right track :roll: :roll:

Oh, and the bang (cannon fire) was done with the spring reverb; a quick and sharp rocking of the instrument causes a 'bang' like a cannon fire....

I think you got me on this one Bill 8)

Re: Thinking Caps on Again

PostPosted: 04 Aug 2013 11:44
by Craig
Is that a bottle of Fosters Radler in your hand Mike ?

Re: Thinking Caps on Again

PostPosted: 04 Aug 2013 12:04
by Abacus
Just a little more along the track and you will be there.

Unless someone else shunts in first.

Bill

Re: Thinking Caps on Again

PostPosted: 04 Aug 2013 12:07
by Mike Bracchi
Craig wrote:Is that a bottle of Fosters Radler in your hand Mike ?


Yes it is ... I don't normally drink beer or lager but I found Radler to be very refreshing in the recent hot weather we have been having :wink:

Mike

Re: Thinking Caps on Again

PostPosted: 04 Aug 2013 12:15
by Mike Bracchi
Abacus wrote:Just a little more along the track and you will be there.

Unless someone else shunts in first.

Bill


Was it Bryan Rodwell on the Hammond Organ playing Coronation Scott producing the steam train sounds? Mind you thinking about it - was it Bryan who played that or was it somebody else :? :?

Mike

Re: Thinking Caps on Again

PostPosted: 04 Aug 2013 12:17
by Craig
Chattanooga Choo Choo had a train whistle effect in the song, but I'm probably way out and I bet it's not Klaus anyway :lol: I'm just thinking Bill likes Wersi so maybe Klaus hehe

Re: Thinking Caps on Again

PostPosted: 04 Aug 2013 23:00
by andyg
1812 nails it

Organist - Dave Smith (still around and over on the Lowrey Heritage Yahoo group from time to time)
Organ - Lowrey
Music - 1812 overture, finale
Effect - cannons
Method - lift up end of organ and rock it, causing reverb springs to clatter, creating the 'bang'

I included the 1812 as the finale to my 'Hooked on Classics' medley. On the Kawai DX900, there was a sound effects synth that included Thunder. If you lifted the lid and made a couple of tweaks with a screwdriver, that thunder became random cannon fire.

But I think the train effects merit an honourable mention, as many of us have used them for Coronation Scot, Chatanooga and so on. For Chatanooga, I'd flip the power switch on my Hammond T500 momentarily, holding down a G augmented chord and a drawbar setting of 00 8080 860 (clarinet tone). The pitch would fall, rise and then stabilise, giving a train whistle. And rather than slapping the keys, several of the 'pops' type rhythms gave an 8 to the bar strum on the auto accompaniment.