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Hi Angela,
Your Nord will sound pretty darn close to a real B3! I’m not going to go into a text description here because the Organ Course on A of R gets into this! You’ll see there are basically two bubble tones: the hi tone and the lo tone (as I call them). Very specific and easy drawbar settings.
Let me know if you have it figured out!
Matt
Hi Dave,
Probably the most important thing to consider is the range. You want to try to keep the keyboard chops in the range that I discussed in the video on that. It’s not really about the root position being a voicing that’s perhaps more important, or something you’d always start with because it’s the ‘root’ and not 1st or 2nd (or 3rd for 7th chords) inversion. It’s all about keeping the voicing in that sweet spot I demonstrated. So that could mean root position or any of the inversions.Does that make sense?
Glad you’re learning!
Matt
Hi Robert,
There’s no name for that LH pattern, in fact, for a lot of the items on all the keyboard lessons there are no formal names because the world of reggae music education is so new. In many cases I am making up these names and try to make them as accurate descriptors as possible. (I mention this on one of the intro videos.) That said, the LH is playing one regular bubble and one mento chop and repeating it. It’s tricky!
Hi Robert,
I’ll be getting Tuff to give you some advice. I don’t think he’ll know much about VST plugins for guitar but the ‘analog’ stuff he’ll know well. On the ‘viral’ video he does talk about his guitar model and the strings and pick ups he uses. That video is on the ‘guitar one shots’ page.As for guitar VST’s I use Orangetree samples Evolution Hollow Body Blues guitar and the Evolution Stratosphere. They’re very good in my opinion….although I have not compared them to others.
Keep on skankin!
Matt
Hi Aldo,
INDEED! This is my next One Shot lesson. I’ll probably get it done in February, 2024. This is such an essential topic for reggae keyboards!Hi Johannes,
Sorry for the late reply on this. I’ll look into the issue you’re speaking of. I’ll bet it’s more of a typo of sorts than anything else. I’ll proof it and fix it.Keep on bubblin and skankin!
MattHi Johannes,
This is a great idea! I will do a One Shot lesson on this as soon as I can! In the mean time, play along to some of the practice loops with just your left hand shuffling. But bear in mind, that is implicitly somewhat difficult. You’ll probably notice that when you add your right hand playing the chop that the LH shuffle will get easier to play. They naturally work together. (This is also true when you switch hands.)
This, no doubt, will be discussed in the above mentioned one shot.
Keep on …..BUBBLIN!
MattHi Jonathan,
We’ve been in touch through Email. Thanks for pointing out that slight mistake on Basic Theory course, lesson 3. I’m fixing it now!
I hope you saw my email saying that the Organ Course 1 dives very very deeply into playing the BUBBLE. There’s a little about it on Piano Course 2 but you generally do not play the bubble on the piano. Check that organ course and let me know what you think!
MattSorry for the late reply Rem,
The whistle bubble is played exactly as the ‘classic’ bubble but it’s really about the right hand chop that’s being played while the left hand is bubbling…so it is a bit confusing. But it is for sure a ‘thing’ a certain sound that you will hear on some reggae tracks out there. There is a good example on the curated play list – Tribute to the Marytr’s by Steel Pulse. Give that a listen. I hope this helps!
Hi Brad,
Bienvenu! I wish I spoke more French. I had a great time on tour with Groundation for 2, 5 week tours last Summer and Fall. The French fans are AMAZING! Hit me with any questions you may have, or just post here on the forum.
Bubblin,
MattHI Remy,
No there are not any rotor speeds that are more ‘reggae’ than any others. The speed of the rotors, on a real leslie depends on the WEIGHT of the top horn and lower rotor. The rotor, is made of plywood in most cases and larger, therefore heavier so it speeds up and slows down slower than the very light weight horn on the top. So those speeds are rather random. Sometimes the digital settings have the lower rotor speeding up too fast, but in my opinion it’s not that worth stressing about. Hope that helps!Hi Aaron,
Knowing chords and the SCALES that go with them will help you understand VOICELEADING, which I talk about a bit on the Basic Theory course. This is basically what is happening with horn lines over a few chords: voiceleading – that is the most smooth motion from one chord to another. When you’ve identified the top line and have a nice little melody happening, the other voices (or horns as it were) below that line will follow voiceleading ‘rules’ that allow them to move along with the top line melody in a smooth fashion.Another thing that you can do is, when listening to a horn line, try to work your ear so you can hear the notes of the instruments that are BELOW the top line, in otherwords, the harmonies. This is an ear training exercise and the more you do the better you will get. You can also train your ear to hear just say the bass lines, or the rhythm guitar, or some inner keyboard part.
In the next week or so I’ll be posting a new One Shot on ‘switching hands,’ that is, playing the chop with the left hand and bubbling/playing lead lines with the right. I have three tunes on this and I’ll write out charts that have all the parts so you can see how they line up.
Next up: the RIDDIMS projecct. That’ll take a bit, but you’re getting me inspired to take it on!
Play on,
Matt