Thank you! But, I don’t think I’ve ever played gerat music. 
I think it might be an offshoot of Djent.
Sorry…I couldn’t help myself, you know how I am. 
I do appreciate the kind words.
Cheers
Corky.
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just noticed that typo and corrected it but you were too fast…
Cheers, Volker
O.k. rolled back - otherwise people could think you are drunk…
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Could be short for geriatric music - and we’re all heading there 
…
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I AM already there!! The big seven zero is staring me in my face.
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Great playing on a great song (or is it a gerat song 
) I love the rhythm guitar also.
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Have you ever played with these guys at the blues open mic? That would be quite the show.
So, I just pulled the trigger on B3-X yesterday and had a chance this evening to do a quick, short test sequence (it could stand a little more humanization). LOL, I even got to pull out my guitar and bass and play them a few seconds… All I can say is B3-X is the bomb.
Thanks Corky and everyone else for the heads up on how great this thing is. BTW Torsten was right about having to cut a lot of low end to make it sit right. I also had to use Thrill Seeker (the original) to get it to chime a bit more. One thing I discovered is a big part of the sound is the choice of reverbs. I bussed a bright large hall and a very bright medium plate and used quite a bit of both. LOL, the old B4-II can finally be ditched.
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Yes! In fact, all the players on the album are members of the Memphis Blues Society. One guy passed away, but for the most part, we are all there on Thursday night. The house band for that gig rotates members weekly, between all those on the album. Always a killer band!
I prefer the reverb after the Leslie, and the IK one at the end of the chain is really good.
Personally I like how the Sanford, cathedral (# 11) reverberates, after the Leslie.
Finally had a chance to listen to your tracks. Not what I normally listen to as my musical cup of tea (we are a broad church), but great playing all around and great Hammond sound.
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I tried it and its good, if I were a keys player I’d definitely use it in a live situation just to avoid the baggage for a small improvement that probably isn’t noticed live. But for this tune it was too dark, and super bright reverb was a part of Boston’s sound.
LOL, on a side note, you’ll be proud of me for using Fortin Cali instead of a real amp. 
The thing is, the Blues dominate here. All of us have played on Beale Street a lot. Tourism is a huge industry here, and visitors still want to hear Blues, and Soul. Gospel is also a big influence. Unlike many of my peers, I play, and listen to many kinds of music, from Rock to Jazz, to Metal to Prog Rock, to Country, and Classical. It makes me a better musician, especially when playing covers. At least, it keeps me working, and other musicians know I can handle most any gig.
As those songs above showed, I know how, and when to add or subtract myself into the song. I think that is one of the hardest things for musicians to learn. Leaving spaces is essential to any song. Then…there is the Elvis thing, which is another layer of the music of this city. 
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Reverb should mostly be subtle, unless you are going for that “stadium” feel. Reverb in the leslie makes it swirl, but sounds somewhat cheesy. I have used that way, but not a fan.
Oh yes! I am proud of you!
Everyone has their tastes. I myself would never use a B3 for blues since to me it overwhelms the entire original premise of the blues. Give me a cigar box guitar and slide, harmonica, a trash can or whatever to beat on, and a wash tub bass and we’re good to go! Or a strat, bass, harmonica, and kit for stage. But that’s just me…
And it most probably makes you a far better musician than I ever will be 
I dunno what It is, and I love lots of different genres of music, folk, Hebridean folk, pop, punk, progressive, classical, but I just can’t get any enthusiasm for the blues - not withstanding the odd track that catches my ear.
But there is enough variety out there to keep us all happy.
Oh I totally understand. Many hate it. As a kid, I played trumpet in a Soul band, not realizing the blues was the base of all modern music of the 20th century. It took several years to warm up to blues. I was in a blues band for 6 years in the early 2000s. I never want to be in a full time blues, or country band again. It’s not really my thing, but many people have suggested that I am at my best playing blues. I guess I just have a feel for it. When I go the local blues jam, I will not stay very long, unless some special people are in attendance. The repetitive 1-4-5 and variations drives me into insanity.
Not true. All the gigging, schooling, and rehearsing I’ve done in my life only sets the basics. The real musicians are driven by passion. I know multiple musicians who’ve never studied, don’t know what chords they are playing, and never get hung up on chord progressions. It all comes from the heart and mind. I become a better musician when freeing myself from the chains of theory and chord structures.
Playing different styles does help me, in the fact that it is different source of inspiration. I am not better than anyone else. Thousands here can play circles around me. Maybe I am just a little more passionate at particular times. The confidence makes you a better musician. I have to remind myself of that at every gig, because it is hard to maintain.
That is my lecture
Cheers
Professor Corky 
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That’s called Country Blues.
That’s called Electric Blues.
Organs in Blues came from the churches. Ray Charles became a huge, controversial star, when he combined Church with Blues and Jazz. Church organs were in his music. Later, he became an even bigger, controversial star when mixing Country music (also blues) with Strings and Organ, in a bluesy, jazz way. Many blues artists jumped on that money train and Hammond was in nearly every blues band thereafter.
Damn…I am teaching again. School’s out. 
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Actually its the original blues. It was invented by people who had nothing but talent and in most cases the baggage of slavery in their families. They had to make their own instruments out of other peoples refuse. The “well to do” among them had the means to come up with a harmonica… They invented it. We appropriated it. Or in some cases misappropriated it. What we call blues today has little to no resemblance to their realities. I respect it and play homage to it. But I’m not comfortable with equating tens of thousands of dollars worth of gear in a nice place serving nice drinks and lyrics about some personal problems caused by poor choices instead of dire circumstances “blues”. But that’s just me.
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Times change. So do people and music. Yes, many people were ripped off, not just by Music Elites and managers, but by other musicians. Louis Armstrong became very wealthy from his blues in the 1920s till his death. The Jazz musicians of that era were also killing it. They didn’t invent it either. Neither did Duke Ellington, Bix Beiderbecke, Charlie Parker, Chuck Berry, Little Richard, BB King, Albert Collins, Miles Davis, and James Brown. They all struggled, but had no problem with the progression of the blues, and all played in some fancy clubs with fancy drinks, and lyrics about personal problems. The British invasion was a theft of the blues, but brought a world wide awareness of the old originals. Eric Clapton has relentlessly touted the originals throughout his career.
You can’t change the past, but you can pay homage to it. You can’t stop progression, but you can pay homage through it. Robert Johnson died very young, and had no idea where his music would go. He has to be looking down with pride, knowing he was at the forefront of a movement that changed lives and cultures.
My 2 cents.
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