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Topic: E-h B9/c9 |
Howard Parker
From:
Maryland
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Posted 19 Dec 2019 12:35 pm |
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Are we still in love with these pedals?
Thinking of a C9 to emulate a Musitron.
Thinking "Runaway".
Those that own and use...Thoughts?
Thanks in advance.
h
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Howard Parker
03\' Carter D-10
70\'s Dekley D-10
52\' Fender Custom
Many guitars by Paul Beard
Listowner Resoguit-L |
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Paul Sutherland
From:
Placerville, California
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Posted 19 Dec 2019 1:55 pm
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I have a C9 that I use on at most a couple songs per night. I wouldn't want to use it anymore than that. It's pretty good for what it is, but it's certainly not the same as someone playing a Hammond B3. Two note chords on the lower strings sound better than anything on the higher strings, or single note runs. Use as little vibrate as possible as the notes will drop out if you slather on the vibrato. Use a compressor pedal to help hold the notes a bit longer. Mainly play long sustaining chords and some short choppy chords with exaggerated blocking to get a percussive effect. Don't play PSG licks, as in lots of A&B pedal mashing. Try to think like an organ player. Don't expect too much and you won't be disappointed.
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It don't mean a thing if it ain't got that swing. |
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Dom Franco
From:
Beaverton, OR, 97007
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Posted 19 Dec 2019 6:33 pm
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I have the EHX B9 and I love it. I understand that the C9 is even better.
I don't use the "click" sound (far right knob)
I play solo gigs with my background trax, So the option of an organ sound is a nice change from the Steel taking every Lead.
It tracks my steel perfectly and I can get some very effective Organ parts.
Dom
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https://www.youtube.com/channel/UCYG9cvwCPKuXpGofziPNieA/feed?activity_view=3 |
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Rick Abbott
From:
Indiana, USA
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Posted 19 Dec 2019 6:48 pm
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I find that placing it first makes a huge difference in how it tracks. I use it on 25% of the songs in one band I play with. So, 10 or 12 songs a show. B9 - Boss RT-20 for rotating speaker...a must have to get a great sound - volume pedal - Velvet Fuzz - Faux Reverb - amplifier.
The B9 and Boss RT-20 are very nice, there are better rotatory devices, but I like what I get. Paul is right about pedal and slide sounds, they don't sound very good. But, I also use a light (6.5oz) Clinesmith bar and on the C6 neck I comp chords and do very well timed bar slams. Picking dynamics are important. Hard on the heavy strings and light on the thinner ones. Single note lines are cool if you can avoid sliding. Many people have come up to me at shows and asked how I was doing the organ stuff. They couldn't believe there was no organ in the band. Takes a bunch of practice.
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RICK ABBOTT
Sho~Bud D-10 Professional #7962
Remington T-8, Wakarusa 5e3 clone
1953 Stromberg-Carlson AU-35 |
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Dom Franco
From:
Beaverton, OR, 97007
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Howard Parker
From:
Maryland
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Posted 19 Dec 2019 8:06 pm
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Thanks for your experiences. I should note that I'd be playing PSG..If that makes a difference.
h |
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b0b
From:
Cloverdale, CA, USA
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Posted 19 Dec 2019 9:04 pm
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I have the Mel9 and the Key9. They use similar pitch-detection technology as the B9 and C9, probably the same chips under the hood. They track best if they're first in the chain - before the volume pedal.
I also found that they need well isolated power supplies. If you daisy-chain a 9v wall wart like the One-Spot, you'll get noises. The MXR DC Brick didn't cut it, either. Now I'm using the Strymon Ojai which has a separate transformer for each 9v output. That solved the problem.
I didn't care for the B9. The POG2 is better, but it's hard to program correctly. Combining the Sub'n'Up Octaver from TC Electronics with a Strymon Lex (Leslie simulator) works pretty well, but it's two things to switch. I haven't found any single effects unit that switches a steel to a real good organ sound with one switch.
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Tom Wolverton
From:
Carpinteria, CA
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Posted 21 Dec 2019 6:06 am
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I run a C9 with a Strymon Lex. I like it a lot.
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To write with a broken pencil is pointless. |
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Eric Philippsen
From:
Central Florida USA
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Posted 22 Dec 2019 4:52 am
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I have been using a B9 ever since they first came on the market. In one band that I play with it is almost indispensable and I use it on maybe 1/3 of the tunes we play. I get a LOT of comments about it.
Where you place it in your signal chain is important. Ideally, in my experience, it should be the first thing plugged into from the steel output. Before the volume pedal. As others mentioned, forget bends and slides. Doesn’t sound good.
The only thing I don’t like, and it’s more a nuisance than anything, is how the organ effect abruptly cuts off on long sustained notes or chords. I wish it would sustain or stay “on†longer. Put another way, you cant have a 5-second sustained chord without first backing off on the volume pedal, plucking the chord very hard, and gradually increasing the volume via the volume pedal. Not really a big thing. |
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Jon Light
From:
Saugerties, NY
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Posted 22 Dec 2019 6:34 am
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Runaway was called on the bandstand, unexpectedly and never-rehearsed, a bunch of years ago. By good fortune, it was so deeply ingrained in my head & ears that I called for the ride and simply knew it even though I'd never played it before.
A rotary pedal (H&K was on my board at the time)and some very light overdrive -- possibly the onboard tube OD of the H&K -- and a seasick bar hand gave it enough lo-fi & wobble to sell it. While it probably did not nail the sound of the Musitron, I felt that I'd brought it home. |
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Howard Parker
From:
Maryland
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Posted 22 Dec 2019 6:40 am
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Thanks again, folks.
Very helpful.
h |
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Rick Abbott
From:
Indiana, USA
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Posted 23 Dec 2019 6:06 am
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I have thought, for some time, that playing the steel with organ effects should have a forum, or page somewhere. It really is a different instrument. It shares the mechanics of the PSG, but it's not exactly the same as playing PSG in the "normal" way. It's supposed to sound like playing an organ, but it's nothing like playing an organ. It lives in a gray area between other instruments. It takes a lot of time to develop the tone and physical touch to play well, just like any instrument, and just because we might play PSG well doesn't mean we can play Organ Sim well. We should find a way to share our findings and techniques. Maybe an occasional video or tutorial ; even a thread here that becomes a "comprehensive" discussion for posterity. Lots of players use them, and few use the exact same rig.
_________________
RICK ABBOTT
Sho~Bud D-10 Professional #7962
Remington T-8, Wakarusa 5e3 clone
1953 Stromberg-Carlson AU-35 |
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Howard Parker
From:
Maryland
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Posted 23 Dec 2019 6:28 am
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| Jon Light wrote: |
| Runaway was called on the bandstand,<snip>.... While it probably did not nail the sound of the Musitron, I felt that I'd brought it home. |
I've played it a lot over the years as a steel part. A current project suggests a more organ like approach. Problem is this would be a "one tune pedal", so....
h |
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b0b
From:
Cloverdale, CA, USA
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Donny Hinson
From:
Glen Burnie, Md. U.S.A.
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Posted 4 Jan 2020 8:29 am
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| Jon Light wrote: |
| Runaway was called on the bandstand, unexpectedly and never-rehearsed, a bunch of years ago. By good fortune, it was so deeply ingrained in my head & ears that I called for the ride and simply knew it even though I'd never played it before. |
I got good results and some compliments when I used to use a fuzz for that tune. Medium on the reverb, heavy on the "fuzz", and low on the treble did the job!  |
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