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Topic: Anyone else use Wah with B3 effect? |
Mike Bacciarini
From:
Arizona
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Posted 30 Aug 2020 3:14 pm |
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There’s been much discussion of Organ and Leslie sims for a B3 effect on the forum. I use the organ effect on several songs in our band (Let it Be, Don’t Dream it’s Over, Good Feeling to Know, Hey Jude, etc) and settled on the EHX B9 and the Neo Ventilator II with an Ashby Solutions half moon. Having been inspired early on by Rusty Young at live Poco shows in the early 70’s, I watched the magic unfold by way of his psg through a wah into a Showman head pushing a 122 cab. Of course there was the obvious.... his hands, his feet, his brain.
The idea with the wah is to emulate more or less stops being pulled, going from mellow to bright. Most all of my “B3†work is adding a layer of organ chords.... the only single-note solo being on the Crowded House tune. Working the wah and the half moon are where it takes thinking like an organ player.... the B9 generates a pretty convincing organ voice. Since I use a modified Ernie Ball VPJR (stereo) interfacing to 2 FX paths, I chose the Ernie Ball wah pedal as it’s the exact same height, strapping them together underneath. The full forward (bright) position was too screechy so I blocked the travel for a moderate change from mellow to bright.
As if psg doesn’t already require some concentration, now I have to use my right foot not for volume or sustain, but for some alien keyboard effect. So, anyone else using a wah on your B3 stuff? I’d like to hear your ideas and experiences.
https://m.youtube.com/watch?v=1M4BKtRsedw
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MCI Arlington S-10 3+5, George L E-66, BJS & Emmons bars, Fender Stage Lead II 100W 1x12, Fender Satellite SFX, custom FX rack, 1983 Dobro 60D, Martin D16GT, Ibanez AS73, 1978 Rickenbacker 4000 custom.
Last edited by Mike Bacciarini on 7 Sep 2020 6:52 am; edited 2 times in total |
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Fred Treece
From:
California, USA
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Posted 30 Aug 2020 5:03 pm
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Sounds great, Mike. I don’t have the B9, but the organ effect can be faked with a Boss Chorus and phase shifter. I have dinked around with throwing my cry baby wah in the mix, but it sounded over the top to me. The idea of placing a stopper on the pedal is brilliant.
What I have always wondered about with the Rusty sound is it seems like he had control of wah, Volume, and Leslie speed, sometimes all at once. |
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Bob Womack
From:
Virginia, USA
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Posted 30 Aug 2020 5:29 pm
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Ah, you've stolen my technique! I developed this back fifteen years ago when I got the Line6 Footboard for the Pod 2.0 and discovered that there were two matched pedals side by side.
One was the pre-effects volume pedal and the other was a dedicated wah. You controlled both volume and tone with one foot laid across both pedals. I discovered that it creates the most plaintive,emergent wail when you feed it into a tape delay and reverb that holds the notes. It is really a fantastic effect. I've saved the unit for use on a recording of one of my songs.
Bob
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"It is said, 'Go not to the elves for counsel for they will say both no and yes.' "
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THE MUSICIAN'S ROOM (My Little Website) |
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Mike Bacciarini
From:
Arizona
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Posted 30 Aug 2020 5:48 pm
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Much of Rusty’s live sound was flat out. They were one loud rock band. Of course there was some nuanced stuff... maybe he just backed the volume pedal down for those. My attempt at Good Feeling to Know is early in my journey and I still couldn’t resist moving my right foot on the wah as if to sustain the chord. And it’s taken discipline to not add any bar vibrato. The B9 compresses the input signal to give the organ-like sustain. In fact, this led to having two separate volume circuits, as the volume control right after the pup would simply set the level of the attacked chord. One half of the stereo volume is ahead of the straight steel FX (phase shifter, tube screamer, octave, verb) and the other half is after the B9 and wah, but ahead of the Neo Vent and another verb. There’s an A/B switch to select which path goes to the amp.
With practice it’s possible to change from volume to wah throughout a song as necessary. Also, the signal going into the B9 is subject to how hard you pick... really digging in gets the B9’s overdrive crunch going. So, the entire voice of my “B3” is made up of the pup, the B9 and the wah. That then goes to the volume, then the Neo (Leslie) and then into the verb.
After picking a chord, my right hand is free to hit the half moon for Leslie speed.
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MCI Arlington S-10 3+5, George L E-66, BJS & Emmons bars, Fender Stage Lead II 100W 1x12, Fender Satellite SFX, custom FX rack, 1983 Dobro 60D, Martin D16GT, Ibanez AS73, 1978 Rickenbacker 4000 custom. |
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Mike Bacciarini
From:
Arizona
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Posted 30 Aug 2020 5:52 pm
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Bob, that’s very cool. I did actually peek over your shoulder for the “same height “ idea. 
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MCI Arlington S-10 3+5, George L E-66, BJS & Emmons bars, Fender Stage Lead II 100W 1x12, Fender Satellite SFX, custom FX rack, 1983 Dobro 60D, Martin D16GT, Ibanez AS73, 1978 Rickenbacker 4000 custom. |
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Godfrey Arthur
From:
3rd Rock
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Posted 30 Aug 2020 8:01 pm
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Sounds sweet Mike. Always liked that song!
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ShoBud The Pro 1
YES it's my REAL NAME!
Ezekiel 33:7 |
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Glenn Demichele
From:
(20mi N of) Chicago Illinois, USA
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Posted 30 Aug 2020 9:07 pm
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Almost (see below). It generally works ok, but I have my volume pedal before my effects unit, primarily for reverb. For organ and some other effects, yes, the VP wants to be before the amp. Maybe I need three pedals, pre, post and expression!
| Glenn Demichele wrote: |
Love my two. I have both pedals velcro'd to a mouse pad next to each other on the floor. One is for volume, and the second is used as the expression pedal on my Boss Gt-001 multi-effects unit, so I can control Reverb %, Leslie spin rate, Wah, drive and other stuff like that.
The expression pedal needs 10k, so I made a little adapter cable with resistors in it to keep the Boss unit happy, and didn't have to modify the stock Moyo's. This means I have a spare volume pedal if i ever need it. |
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Franklin D10 8&5, Excel D10 8&5. Both amazing guitars! Homemade buffer/overdrive with adjustable 700Hz "Fender" scoop., Moyo pedal, GT-001 effects, 2x TDA7294 80W class AB amps, or 2x BAM200 for stereo. TT12 and BW1501 each in its own closed back wedge. Also NV400 etc. etc... |
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Clyde Mattocks
From:
Kinston, North Carolina, USA
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Posted 31 Aug 2020 8:27 pm
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Really effective.
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LeGrande II, Nash. 112, Fender Twin Tone Master, Session 400, Harlow Dobro, R.Q.Jones Dobro |
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