Chopper B3 info

[random@well.sf.ca.us (Ben "Jacobs")]

In September, I was fortunate enough to come across a "chopped" B3 (bought
it for $1500, including a one-speed 145 cab, which I put aside, and a 22H
amp which worked but really needed a rebuild).  My unit seems
representative of the species -- I've seen two others out at gigs, both of
which seemed pretty similar.  So, for those curious about choppers...

1)  How much does the thing weigh?  I haven't put it on a scale lately, but
it takes two folks of average strength to move it.  Not too tough.  One
person with a handtruck can move it on level ground or up/down minor
inclines.  Stairs are HELL.  I would put it at 200lbs or so, without any
kind of Anvil case or lid.

2)  Physical description?  All original Hammond woodwork is gone.  The new
enclosure is as wide as a normal B3, about 4-1/2 feet deep, and about a
foot thick.  Reasonably sturdy fold-out legs are attached to the bottom,
held in place by bungee during moves.  I added casters on the bottom, for
easier truckbed loading.  I also built a strong lid, for piling everyone
else's junk on top, inside the truck...

3) Functional description?  Front panel is straight off the original.  All
controls function as before.  Everything inside is solid state (TrekII
percussion kit, with adjustable volume).  A spring reverb is mounted
underneath the lower manual, with adjustable output level.  (This is kind
of a dumb placement, since vigorous playing causes the springs to shake
slightly.)  Back panel has two Leslie connector sockets (7-pin?), a strange
AC connector (5-pin?), a 1/4" phone jack for the tremulant speed
footswitch, and an XLR jack for hooking up a weird (hacked) volume pedal.
Back panel also has some mysterious 1/4" phone jacks, two of which seem to
accept other instrument inputs (pre-reverb).  Fender Rhodes -> spring
reverb -> Leslie sounds pretty cool...

4) Who did this?  The chop job was done (for the previous owner of the
organ) by Chuck Webb, at Chuck's House of Music (Oakland, CA), phone
510.839.0300.  The cabinet work is pretty sturdy, but he gets no
recommendation from me for his electronic workmanship... the soldering
looks generally poor (there were several wires which had come unglued and
were actually DANGLING inside the unit when I got it).  Also, until I
"adjusted" it, the fit of the cabinet was a little too tight, physically
preventing the first two tonewheels from turning (including low C, a pretty
important note!).  This is the kind of stuff you just don't have to worry
about on good old Hammond factory output!  Also worth noting, the work
reportedly took 8 months to complete (of course, there could be lots of
legitimate reasons for that).  Oh yeah, the operation (supposedly) cost
$1500 (in 1992?), NOT INCLUDING the original organ.  Pricey.

There's a company in the Los Angeles area, called Keyboard Instruments or
something like that, which has a very good reputation for doing this kind
of work.  But I've heard that their price is even higher... Does somebody
out there  have their info?)

Chopper humor: one friend, upon seeing my boxed organ for the first time,
suggested a name plate, to read "John Wayne" (as in "Bobbitt").  Very
funny.

My conclusion?  I go to great lengths to avoid gigging with my Voce
DMI64-MkII these days.  I guess I've tasted the forbidden fruit... If the
gig isn't worth hauling the Chopper, I'll just play digital piano, ugh.
Moving a 200lb beast for every gig can be a pain (for me and for unwary
bandmates), but I keep telling myself that the way to learn an instrument
is by PLAYING it, as much and as often as possible.  And I certainly
haven't heard many complaints once the thing is set up on stage, doing its
thing.

Okay, in weak moments, I *still* consider getting one of the newer drawbar
synth organs, maybe the XB2 or new Oberheim thing.  For (loud) live
settings, there are even certain sonic advantages to a reasonable digital
simulation (more resistant to mishandling by bad sound people, easier to
monitor, etc...).  But for recording work, even on a humble cassette four
track, that real B3 makes all the difference.  Most serious tracking
studios I've seen keep a Hammond on hand (nowadays), often one with real
(tube) pre-amp guts, but I know that I will always be PREPARED.  I hope
this has all been of some interest...

- ben "jacobs" -- random@well.sf.ca.us