Nicolas 2000
It's a household name
Belangrijker dan het onderstel: zijn dit nu platkopschroeven of bolle schroeven?
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Schroeven?! Bouten zul je bedoelen! History of the Great Workmate Workbench • Tools FirstBelangrijker dan het onderstel: zijn dit nu platkopschroeven of bolle schroeven?
Dat kan ik makkelijk! Tenminste, met name het tegendeel kan ik makkelijk aantonen. Onder B&D werden ze immers pas sinds begin seventies op de markt gebracht. Mijn B&D exemplaar is ergens uit de seventies. Nog een blauwe met aluminium frames. Ik gebruik hem nooit, ik vind het krengen.Toon eerst maar eens aan dat jouw Workmate werkelijk uit de sixties is.
Dus dit...Het is trouwens geen sixties Workmate. Ik héb een sixties Workmate, en die is anders.
Je weet ook dat geen onderstel hetzelfde klinkt hè? Sws klinken bruine onderstellen warmer dan zwarteBelangrijker dan het onderstel: zijn dit nu platkopschroeven of bolle schroeven?
Da's waar maar dat geldt alleen voor analoge onderstellen.Je weet ook dat geen onderstel hetzelfde klinkt hè? Sws klinken bruine onderstellen warmer dan zwarte
Bij mij staat ie meestal buiten, dus dan gaat het nog harder.... Op de mijne heb ik de planken vervangen door fatsoenlijk multiplexTegenwoordig maakt B&D ze met bamboe klemplanken. Heel verantwoord, ze staan nu al biologisch af te breken in de schuur.
Now after a gap of some 20 years the original Procol Harum is back together: vocalist/pianist Gary Brooker, guitarist Robin Trower, lyricist Keith Reid and Matthew Fisher on organ. The Hammond is still a mainstay of the Procol sound but this time usually a C3 or B3, depending on what’s available. You see, Matthew Fisher doesn’t actually own a Hammond. ‘I used to own one but it got stolen. I lent the M100 to Procol Harum and they lost it,’ he says, referring to a certain roadie who seemed to have itchy fingers.
Unlike ‘modern’ keyboard players who have an armoury of synths and a rack of expanders, Matthew kept things relatively simple on tour. ‘All I was using was the Hammond, the JX-8P, which is mine, and an Akai S1000 sampler. All the sounds I’m using are S900 samples because that’s what I had but we needed the S1000 for the extra memory.’
As it happens pianist Gary Brooker is the one who has MIDI madness on stage. Using a Rhodes MK80 as a master keyboard, he has a rack of modules all allocated different patches depending on the song.
‘Most of the time I’m using twin sounds, a JX sound with a sample. I’ve got a church organ sound that I actually sampled in a local church. I played various notes on the organ, recorded them and then took them back and put them into the S900. I mix that with a churchy sound on the JX-8P – they mix quite nicely together. But sometimes it’s just one or the other. It’s all switchable from the JX. So there may be a sound coming out of the JX and there’s no program corresponding to it in the S1000 and, vice versa, sometimes there’ll be a program in the S1000 and I’ve just got a dummy program in the JX which is total silence. But I only use 10 or 12 programs compared to Gary’s 40 or 50. He’s got very carried away with MIDI,’ he says.
Whereas Matthew as the studio man hasn’t, I ask?
‘Well, I feel that if Gary’s going to go into it to that extent I decided to minimise whatever I’m doing both from the point of view of saving trouble and because it’s ridiculous having everyone trying to play everything. Anyway it’s a bit of a busman’s holiday playing MIDI stuff on the road. It’s great to be able to forget it all and just groove on organ. It’s so much more spontaneous and less hassle.
‘We were using C3s in Europe, and in America mainly B3s. There’s more B3s in America and there’s more C3s in England. The B3 is much easier to carry. A lot of people make the mistake of chopping the legs off the B3 and it makes it much harder to move about. With the legs on you’ve got something to grab hold of. They’re surprisingly easy to move around.’
With the Hammond he used two Leslies which were miked up. ‘It’s fortunate we’re not a very loud band – I’d probably have had more problems. But we’re actually very quiet on stage.’