And on the organ, more notes at once increases volume with each note. To contrast a piano where you can lightly press the key vs slamming it down might be 30db different so the dynamics are in the TOUCH. I’m genuinely curious though.So, sure there can be swells “per se”, but for me as a player, the indispensable swell pedal is because of the nature of the organ-theres no touch sensitivity, right? Meaning no matter how hard or soft you hit a note=same volume. How is the volume pedal used stylistically? For instance when playing pad type chords on pop/rock songs would a good organ player be creating volume swells or changes between chords? Sorry if that’s a dumb question. For one I did after that, which the arrangement focuses a little more ON the organ.I tried to use the plug ins and decided it WAS actually a compromise sonically, if only one I'd notice, so I mic'd up the 122. If I really thought it would sound better to use the real one, I would. I intended on eventually replacing it, but I ended up just leaving most everything from the demo. There's a tune on the album that is the 'day one demo'.it's the B5-recorded live as AUDIO doing the arrangement demo. I held onto the original B4 for a really long time.the B4II wasn't as good-NI's 'replacement' Vintage Organs was worse by a long shot.Apple's nice model he made for LogicX is pretty solid, though in all cases, presets I often find weird AF-I set it up dry do I can properly control the Leslie speed and drawbars as I play.really the vibrato never leaves C3 for me.anyway-I point those out, because they're current, solid models that wouldn't be a 'problem' to use in place of my C3/122.in some contexts at least. You do NOT call up a preset and play through your chord progression. But, honestly, I think a lot of what's lacking is people not understanding the dynamic nature of the instrument and how that realtes to the 'reality' of the sound.

Virtual hammond b3