As a keyboardist, I adore the sound of the B3; it is the mack daddy of electronic keyboard instruments, representing an essential part of the sounds of gospel, blues, soul, R&B, country, rock, pop, ska, and countless other genres. If there is such a thing as aural sex, there is no doubt a B3 somewhere in the mix.

As a musician who has to play multiple venues, however, it would be remiss of me not to mention the only drawback of integrating a B3 into your live sound: you need a pack elephant (or a burly gang of roadies) to move the thing. This logistical difficulty created the market for B3 and Leslie simulators; whether these in fact measure up to the original is a subject of furious debate among audiophiles and musical purists alike.