The real trick to B3 in this aspect is to figure out how to keep changing things on the organ as the song progresses.

ANIMATION of the sounds is the most important aspect.

If using a MIDI keyboard or synth with built in B3 sounds, find the Patches that will go together within the framework of the tune, and be able to switch between them midstream.

And SWITCH.

Sometimes in mid phrase.

Use one hand on the keys and the offhand on the Vol slider at the same time. If you have an Expression Pedal, by all means plug it up and use it instead.

Change Patches

Change Dynamics

Glissandos and Smears -- But do not overdo them. There are three basic smears for Hammond, one is all white key smear, one is all black key smear and the last is combination of both white and black keys at same time. They fit into different keysigs. Use yer ears. Upwards is likely used more than downwards. The number of keys pressed at same time makes for vastly different sounding smears, experiment and find yours.

Change Playing Sytle (for example, hold one key that is in both successive chords down while changing chords. like in the case of moving from C7 to F7, keep holding the C note while switching the other two notes.) OR move from Legato style playing to Chopping - and back.

Don't overlook the "thin" sounding Patches where there is typically only one white drawbar pulled, these settings are the heart of B3 Padding - and sometimes soloing as well.

Avoid the "Jazz" patches (88800000 or 88880000) for the Motown work - "Gospel" patches are the choice, but don't hesitate to do anything that works in context with your singers.

Keep changing things throughout. Nothing worse than having to listen to some cat pounding one MIDI organ patch throughout the entire song. Organ ain't Piano.

--Mac

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