I have had the B-9 on my pedalboard for about a month now. My guitar has an additional Piezo circuit in it and I split the signal at the guitar, Acoustic and Electric. On the Acoustic chain It goes to the B-9 then an A/B/AorB box then sends the acoustic signal to effects and then the PA. I also have a volume pedal on the B-9 side of the A/B/AorB splitter. With this I have the option of A) Straight acoustic guitar the B-9 that I can swell in with the volume pedal OR) Acoustic guitar and B-9 with the volume pedal. I totally love this setup and get countless complements or how dynamic and full my sets are. You guys really did a great job with this pedal.

In keeping with the spirit of innovation and having used this pedal 3 times a day for the last month playing solo and ensemble gigs in Key West I have found myself wanting more. I have spent a considerable amount of time working with My dear friend Dennis “Torpedo” Torpe who is not only a great Hammond organ operator but also happens to repair them. As he would play I noticed that a considerable element in how he would create dramatic phrases would be his liberal yet elegant manipulation of the lealie speaker attenuator for fast and slow rotation. It would be half of what he was doing and soon found that this is the norm for most Hammond/Leslie operators.

As I spent more time with the B-9 I found myself wanting to imitate some of those techniques but have found no way to accomplish this with out the use of a separate pedal to give me control of the leslie slow stop and fast rotating states.

I have to say the I honestly hated doing this because the sound that is already in the B-9 is GREAT but not control over it on the fly. Which is why I am here writing this now. At first I wondered if I could modify one to accept an expression pedal to basically take the place of the MOD knob. But then why not go to the source and make a suggestion, and so there is it. Thanks for your time and setting up this forum and for making a great product.

Robert Douglas

Kind of. The B9 will [em]enhance[/em] your keyboard’s tone, but it won’t magically transform it into a vintage B. And putting a compressor in front of the B9 is a must. To get a fuller B3 effect, stick with three-finger chords and learn to lift the fingers on the solos. “Bottom End” and “Octaves” produce harmonics similar to foldback, and these effects can be cranked up to 10 when blended with your keyboard’s dry sound. Season everything else to taste. Is it worth it? I’m running a chopped and ultra-modded Hammond L100 through a B9 (and a bunch of other do-dads). Considering the time and expense of adding foldback, yes – it’s worth it.