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As a gigging musician, I have had to grapple with the 'hardships' involved in moving the Hammond Organ, often alone. I never found the 'Roll or Kari' style dolly to be very convenient, opting instead to mount the Hammond on a 'permanent' dolly. I have built 4 dollies incorporating practical improvements with each one. Originally I designed the dolly so that I could flip out the wheel blocks and place the organ at ground level easily. Lately, I prefer a platform that stores under the key bed and folds down to creat a kind of a riser for the bench and pedals. Saves time, and adds to my general feeling of superiority over the rest of the band...
For other aspects of the gig situation which offer challenges I have found various solutions, from creating connections to Leslie speakers and PA systems, making Leslies louder, and creating a practical way to put keyboards on my Hammonds without endagering the finish. For a while I bi-amped my Leslie with a boutique hand-made tube amp by VHT. Lately, I just make sure that I have properly working stock Leslies, which are plenty loud. I have always enjoyed the classic sound of the Blue Note organ trio recordings. An integral part of that is the reverb, which is not subject to coming through a Leslie. Therefore, I always send a DI from the organ to the PA, in addition to mics on the Leslie. My latest A100 features a connector plate enabling use of the on-board stock spring reverb sent out via 1/4" connector, dry DI via 1/4" and balanced XLR, and connection to 2 147 Leslies and 1 760 Leslie.
See the photo galleries below for the "A picture is worth a 1000 words" explanation of my solutions...
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