I've been a keyboard player since I was 15 and my first exposure to live rock music was when a band composed of former high school alumni came to perform in our auditorium. They opened with Footstompin' Music by Grand Funk followed by Sweet Lorraine by Uriah Heep. I was taken with the sound of the organ and those cabinets with the "spinning things" from which that killer sound was emanating - a love affair with what I came to know as a Leslie began. After playing for a couple of years, with "passable" homebuilt rotor cabinets, I decided to build something along the lines of a 145. I was able to purchase parts through a repair shop on Detroit's east side for what were pennies on today's dollars.. I was even able to purchase a Leslie amp chassis from Bob Seger's keyboard player (back in '75) for about 20 bucks. I lugged that thing around to gigs for about 5 years before selling it for a scant $350 - basically what I put into it. I bought the first simulator - the Multivox Little David and it worked ok, but once you've had the real thing, any simulator pales in comparison.

I took a 15 year hiatus from playing as my kids were growing up and having gotten back into playing recently picked up some decent digital keyboards and am amazed at what you can get for so little. The organ emulations are as B3 as you can get without the bulk, but they need a Leslie to really bring out their true colors. Having seen mixed reviews on the most popular simulators (which are in fact quite pricey), I stumbled across Steve's site which was an inspiration that I could again build my Leslie and coupled with the availability of secondhand parts on eBay all things became possible.

After losing quite a few auctions for Leslie components on eBay in the last seconds of auctions for weeks, I stumbled on a guy selling a 147 that was coming off of auction with no bids (I had previously won an auction from him for a lower rotor with hardware and had called to provide payment information). I casually asked him if he frequently dealt in used Leslie components and he informed me of the 147 that he was to part-out if he had no bidders. I ended up getting the horn rotor and hardware, the motors, crossover, belts and belt tensioner for just a little over $400. I found a 12" JBL MI Series woofer also on eBay for about $20.

Steve invited me to document my construction project here as it is a "built-from-scratch" project and shows what is possible if you want to build your own from the ground up.

About Drivers and Crossovers

Since I had built a Leslie as a teenager with limited resources I learned a few things. My Leslie built in 1975 used a high wattage EV 1823M midrange driver. It had high power handling capability but didn't "sound like" a Leslie driver. Additionally I was using rotating horns that did not have the deflectors in place thinking that my Leslie would be "louder" without them. Recent research on the Web revealed that such a configuration has the acoustic result of the apparent position of the driver diaphram moving from the bell of the horn down the throat inversely with frequency. The resulting sound is more amplitude modulated than amplitude and frequency modulated as the horn rotates. Advice: keep the deflectors! Having built a Leslie both ways I can tell you from firsthand experience that the deflectors do not mute the sound at all and the resultant acoustic characteristics with the deflectors are more desirable than without (which is why they were included in the original patent). To complicate things I also didn't have access to a real Leslie crossover network so I drove full range into the woofer and used a simple non-polarized capacitor to limit low frequencies to the horn. My speakers were 8 ohm instead of 16 and so I was probably pulling a little more out of the Leslie chassis back then than the stock 40 watts which was designed for a 16 ohm load.

Today, with a professional background in electrical engineering some 28 years later, I realize the error of my teenage inexperience and know that a good part of the Leslie sound fingerprint is what happens at the crossover frequency and the physical and tonal characteristics of the driver itself before firing into the rotating horn and lower baffle. The original Jensen V21 driver had a phenolic resin dome which results in a limited frequency response due to stiffness and damping characteristics of the phenolic. My 1823M was a titanium driver and while titanium results in a stiffer, lower mass dome, it does so at the expense of being "shrieky". The 1823M is a screamer but it doesn't come close to the original sound. The Jensen V21's if you can find them these days are rare, command a high resale market price, and can only handle 40 watts. Since I have a 12" JBL woofer with 150W RMS power handling capability, I wanted a driver with similar frequency characteristics to the V21 and a little more power handling capability as I was probably going to power this Leslie with a solid state amplifier.

Since the frequency characteristics of the driver are only part of the equation and the speakers I had were 8 ohm instead of 16 ohm, the Leslie crossover I bought with the rest of the parts was pretty much useless at this point. Crossovers designed for 16 ohm speakers will NOT crossover at the same frequency with 8 ohm speakers. Additionally, the Leslie crossover is a second order crossover with a 12db per octave slope at the crossover frequency for low-pass and high-pass elements - far more sophisticated than my simple non-polarized capacitor for the horn driver in my 1975 Leslie. In the picture at left the top crossover is the "vintage" Leslie crossover shipped in most stock Leslies at that time. The lower picture is the Eminence crossover I used in my Leslie. Notice the lamps at the top of the board. These lamps track the high-frequency program material and as more current flows in this branch of the speaker these increasingly dissipate more power in the form of light and heat, effectively protecting the compression horn driver at higher volumes by providing analog compression of the high-frequency program material as the power increases.
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Acquiring the Horn Driver, Crossover and Driver Plate
Since I had already purchased a driver-adapter plate via eBay from BBOrgan designed to adapt the horn rotor's spindle plate to a thread-on driver, I also needed a driver that used a standard 1-3/8" thread for mounting. Coupled with the high-powered woofer a suitable compression driver crossed over at 800 Hz should result in my Leslie possessing a very similar frequency characteristic to an original 145. Fortunately I found both driver and crossover at PartsExpress.com. The horn driver handles 50W RMS (100 W peak), and uses a phenolic dome with a very similar response graph to the original Jensen V21. The crossover is an Eminence Pro Sound second order crossover with 12db/octave slope on the low pass and 18db/octave slope on the high pass. It has dynamic protection against horn driver burnout, high wattage capability and provides as good, if not better performance at the original 800 Hz crossover frequency than the original. When I found this crossover at 800 Hz which seems like an odd frequency for anything but a Leslie I couldn't pass it up. Parts Express has great prices if you haven't noticed yet, and they ship promptly. All parts I ordered through them arrived in a day or two. Note: if you click the link to Parts Express for the crossover the photo shown is incorrect. See my photo above for what this crossover actually looks like.
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Building the Cabinet

At this point in the project I had pretty much all major components in transit and so I set to work to build a cabinet to put it all into. I will preface this section by saying that this is NOT a cheap undertaking, but it is cheaper than buying a secondhand Leslie or a new one. If you are fortunate to find one close to home you could probably arrange to pick it up, but if you pay any kind of freight on a used one, you're probably talking $200 to $400 plus the cost of the unit. I was trying to contain costs and wanting this to look as good as it sounds elected to use top-grade birch cabinet plywood. I wanted to keep the exterior of the cabinet into 1 sheet of 3/4" ply as much as possible and to accomplish that I elected to build this to Leslie 145 dimensions but had to cut the width down by 2" to do so. The only downside to this is that you will not be able to mount a "standard" Leslie tube chassis in the lower rotor compartment, but since I was planning to use a solid state amp that wasn't an issue. As I found out, Leslie chassis' in a secondhand market are nowhere near the 20 bucks I paid for mine back in '75. Additionally I can't even tell you how many "monobloc" tube amplifiers I lost in auctions in the last few seconds because they are so highly desireable to own by vintage audio collectors. We are talking in excess of $150-200 for 20-25 watts of tube power! I gave up on that and decided on a solid state MOSFET power amp discussed in the amplifier topic below.

I cut the 5 sides of the cabinet on a table saw and used Titebond wood glue, gluing blocks made of 1x2 poplar ripped lengthwise in half, and drywall screws countersunk into the blocks such that they only penetrated all but the last ply. Since the cabinet would have to withstand high internal sound pressures as well as support its own weight in transport scenarios, every seam was blocked, glued and screwed and allowed to set up overnight.

Next steps: cut the slots for the upper and lower rotor compartments...
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Slots for the Upper and Lower Rotor Compartments

As has been pointed out, Leslie had some pretty sophisticated tooling to cut those "signature louvers" in their cabinets. It seems like an awful lot of work was done to hide the secret to the sound of the cabinet or to mellow it out, despite the fact that most performing musicians turned their Leslies backwards, removed the covers and exposed the rotor compartments to their audiences. I toyed around with a number of ideas on paper to come close to reproducing the louver effect and the most plausible one would have involved me cutting louvers twice, once from the inside of the cabinet at 2/3 depth and then on the outside at the same depth, although offset from each other by nearly the diameter of the router bit.

I ended up making a tradeoff and used a jig very similar to Steve's to guide the router. I created a single jig designed to cut both the long-side slots and the short-side slots. Since this was a new cabinet with bare, unfinished wood, my jig was designed to "bite" into the edges of the cabinet with the points of drywall screws set into the rails that engaged the cabinet edges. A half turn of the screws was all that was needed to get the jig to lock in place, and moving the jig to the next slot location was easily accomplished. After the long-side slots were cut, that section of the jig was sacrificed (cut off) to use the remaining part of the jig to cut the two shorter sides. Once the slots were cut, I remembered my '75 Leslie front-side bass-rotor-compartment slots were a little too flexible for my comfort level, so in this cabinet I added a stiffener inside the cabinet which will be painted black on the exterior showing surfaces so the lower slots appear to run the full width of the cabinet. There are 20 slots total (including the split upper compartment) and to do this right (without burning the toolbit or splintering the expensive cabinet wood) each slot took at least 5 cuts before plunging through. It was an all-day job! As you can see the cabinet wood has gorgeous grain which was enhanced by staining and finishing.
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Installing the Motors, Rotors and Drivers

My parts finally began arriving with the driver, adapter plate and crossover first and then the whole lot of 147 parts next in three shipments total. First order of business was to see just what shape the two speed motor assemblies were in as they are the most critical parts of the system. The 147 this stuff came out of was in pretty much mint condition. Belts were old but not worn, horn rotor bearings were like the day they were installed, horn was a little dusty but in otherwise mint condition and the bass rotor was also in mint condition. The only thing that really needed repair and adjustment were the O-rings which couple the chorale motors to the tremolo motor shafts when running at slow speed. These were a little worn but until I could get replacements from Goff Professional the motor assemblies could be adjusted. The bass rotor I procured was for a 12" speaker, although the diameter of most of these rotors must be the same because the rotor is 16" dia. for both a 12" speaker and a 15" speaker. Good thing I built my cabinet to the depth of a 145 - I needed that space to accommodate the rotor.

Since the rotor compartment shelves didn't need to be finish-grade, I had a half sheet of 3/4-inch laminating-grade plywood to make these from sitting in the garage waiting for a project. I set to work determining component placement on each shelf starting with the upper rotor compartment which was easiest. After assembling my driver, driver plate and spindle plate and determing mounting hole location, I trial fit the shelf with horn rotor and motor in place before gluing it and screwing it down. The real test would be if I could remove both the rotating horn AND motor from the cabinet for servicing without removing the shelf. Providence was on my side for this one as I was able to both remove and re-install the upper rotor compartment components without removal of the shelf. I glued and screwed this shelf, remounted the components and proceeded to the lower shelf.

This one was a little more involved as I had selected a location for and already installed the bass rotor lower bearing. The location of components on this shelf had to be centered around the placement of the speaker and thus the upper bearing assembly, and it had to be perfectly aligned both vertically and (the rotor) horizontally. Never more than here was the adage "measure twice, cut once" so true. Since the JBL woofer I bought was grilled and the grille could not be removed, I needed some way to distance the grille surface from the bearing hardware which normally protrudes into the cone area of the speaker. The woofer platform in the picture elevates the woofer by a little over two inches providing adequate clearance.

Not shown in the picture is the underside of this shelf. Between the hole cut for the speaker and the hole cut for the motor pulley are two channels or "beltways" cut to allow clearance for the belt to pass between the two pulleys without rubbing on the cabinet shelf. I used the same jig to cut slots for the cabinet to guide the router in cutting these beltways. Belt tensioning was accomplished in the same manner as the 145 with a semi circular slot to swing the motor around a pivot and using the hardware that came with the lower motor to tighten it down. I didn't want to push my luck, being two for two in the alignment department, but I had to set power to the motors and see those components spin. What a beautiful sight! The central compartment cover was made of the same grade of plywood as the cabinet exterior and ported like a 145 is ported with an approximately 4" x 3" hole in the rear center cover. Felt blanket placed on the glue blocks of this compartment insured that I could install and remove the cover without any vibration due to wood warping or misalignment when the lower tones on the keyboard are played.
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Installing the Crossover, Power Amp and Power Supply

As I had largely been unsuccessful in procuring a tube power amp from eBay (and having learned that I had no room to mount it in the lower compartment anyway) I had decided to go down the road of looking for a solid state amp. I already have a Behringer KX1200 4 channel keyboard amp which pushes 120WRMS into a 3 way ported cabinet and as an interim solution decided to modify it to include a switch and external speaker jack. The switch, I decided would allow me to select the Behringer's internal speakers or route the amp output to the Leslie. If anything it was more for a convenient testing capability as I was already on the prowl for a MOSFET amplifier that I could bolt into the cabinet. When I put power amp to the speakers and plugged in the rotor motors I could not believe my ears! This was a Leslie in every sense of the word, albeit with modern components.

After some research, I learned that even a low-end solid state home-audio amplifier couldn't be had for small cash. However my son had been talking recently of subwoofers for his car and I realized that through PartsExpress.com and Pyramid Car Audio, I could get a fairly clean, high-power MOSFET power amplifer for a reasonable price...and in a fairly small package. I decided on the Pyramid Super Blue PB444X with 2x60W RMS bridgeable to 120W RMS Mono. All I needed was an external 12V high current power supply. I had one of these laying around with a total current limited power output of 14.4V (adjustable) up to 7 amps (which means that I could realistically get 90-100 watts out of it before the power supply started current limiting). I've heard 40-50 watts out of a Leslie and it's loud, even in a medium sized venue. 100 watts would be more than enough!

In order to provide a good solid mount for things mounted to the inside of the cabinet (such as the amp, crossover and the speed switching module), I added 3/4-inch blocks glued in appropriate positions to which the components were installed. This allowed for airflow around components like the crossover and power amplifier as well as the power supply, which as it turns out was mounted in the lower rotor compartment where a Leslie chassis would typically be mounted. Since the power supply is a linear supply and linear supplies are typically inefficient and dissipate a fair amount of heat, putting the power supply in the "fan-effect" of the lower rotor aids in its cooling. MOSFET power amps on the other hand are very efficient and based on how overpowered this amp is for how I will be using it, I expect very little heat dissipation (after all these are made to mount in the trunk of a car - a far less pristine environment than the inside of my Leslie!). If I find that the amplifier is shutting down due to thermal conditions, the simple addition of a 12v computer fan blowing through the heatsink should resolve any problem with thermal shutdown. The heatsink is at the rear of the amp and is easily seein in the catalog page link above. This heatsink is tubular and runs the width of the power amplifier. The way the amplifier is mounted this tubular orientation is vertical so that "chimney effect" and normal convection will provide cooling. The crossover and the power amp use neoprene washers or grommets to avoid any resonant frequency vibration which may be encountered.

Upon testing with fairly high volume levels in the mid to upper registers I actually got the protection lamps on the crossover to light up the interior of the cabinet quite brightly, confirming that my compression driver is getting the protection it needs. Interestingly enough this has a sort of "automatic L-pad" effect by keeping the sound pressure levels of the woofer and horn in balance throughout the dynamic range of the speaker.
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The Speed Switching Circuit

Lacking a Leslie amplifier chassis which has the speed switching relays and filtered outlets, I had to come up with an alternative approach. In addition it appears that many of the simulators out there have both slow/fast controls AND a brake control to stop the "rotors" completely. This is something the Leslie chassis' never had the capability to do. Earlier (non "100 series") Leslies had stop and tremolo speeds with the "100 series" units having chorale and tremolo but no ability to stop the rotors. Since this was a scratch built Leslie I pretty much had carte-blanche to build my speed controller to my own specifications.

This involved using 3 duplex electrical outlets mounted in a 3-gang plastic electrical box designed for mounting behind drywall. In addition I used "button-head" hook and loop fasteners to mount two relays, one each for the speed and brake controls inside the box. I used AC-powered relays due to availability. Filter capacitors were mounted on both the motor sockets, and the relay coils themselves to suppress inductive-kick transients which occur at motor turnoff and de-energization of the relay coils.

As I have planned to control this leslie from a footswitch in the form factor of the "Combo Preamp", the relays, in addition to powering the motors also had to switch an indicator lamp back on the footswitch so double-pole-double-throw relays were incorporated (see schematic). The brake control relay is normally de-energized and supplies power in this state to the motor-common contact of the speed control relay. This supplies power to whichever motor pair is selected by the speed control relay, and the second pair of contacts supplies power to the "Rotor Power" lamp on the footswitch. The brake control switch is momentary and will apply the brake when pressed and release the brake when released restoring the motors to whatever speed the speed control relay has selected. The speed control relay is normally de-energized supplying power to the chorale motors in this state and to the tremolo motors when energized. The second pair of contacts on the speed control relay supplies power to a "Fast" lamp on the footswitch. The speed control switch is a push-on/push-off type and when alternately pressed and released will switch between chorale and tremolo and vice versa. Note: in the "Audio" schematic below, the input to the crossover is wired to the left speaker "+" and the right speaker "-" terminals. This causes the amp to detect the load and operate in bridged mono mode automatically and produce twice the wattage to the speaker network (120W RMS vs. 60W RMS to each stereo channel). This can be a LOUD Leslie!

A complete set of schematics (sans the control cable) are in the following links:

This module is mounted on the inside of the center compartment in a manner similar to the power amp and crossover. Two wires go in with 18 gauge wire carrying the power to the motors and the control circuits. The control interface is a 5 wire interface carrying: AC-control-common, brake-control switch, speed-control switch, rotor-power lamp, fast-speed lamp. The wiring is routed through the shelf and to the power-distribution panel mounted in the lower rotor compartment in front of the 12V power supply.
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Power Distribution

Since I was not carrying power from the foot controller (see below) to the Leslie I had to get the mains power into the cabinet directly. Normally a commercially available Leslie accomplishes this either from the organ console or the Combo Preamp. I decided to create a "power distribution" panel which would not only hide the 12VDC power supply in the cabinet but also allow me to get power directly to the cabinet, provide an on/off switch and fuse the cabinet power without having to directly carry a high-current AC voltage in the foot controller and interface cable.

The same ABS plastic panel (see below) material was used to create this panel to which was mounted a circular "twist-lock" power connector, SPST power switch and fuse holder as well as the 9 pin interface connector which interfaces the footswitch with the functions of the cabinet it controls. Picture is shown with lower-rotor-compartment rear cover in place.

For further details on power distribution see the Foot Controller topic below.
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Building the Foot Controller

Knowing that I wanted to build my foot controller similar in function to the "Combo Preamp", and also realizing that I didn't need an actual preamp due to my amplifier accepting a line-level signal directly the purpose of my foot controller is simply to control the Leslie some distance from the actual cabinet, and to get the organ's signal into the Leslie without stringing a whole bunch of extra wires between the location of the organ and the Leslie. Leslie accomplished this with the 6-, 9-, or 11-pin interface cable, but upon investigating that approach for this project I decided that it was not appropriate, especially since mine was built from scratch.

I ended up building a 20 foot long remote control cable using 8-channel snake cable from Parts Express and wiring it to some Tyco/AMP CPC connectors from Allied Electronics. I will caution here though that while the connectors and strain reliefs are relatively cheap ($2-3 each), they do not come with either pins or sockets and you can only buy them in bags of 100, and you would do well to also get a pin-extraction tool if you make a mistake or need to repair a pin or socket or both for any reason (about $90 dollars for a package each of pins and sockets and the extraction tool plus shipping). I elected to use these connectors because I have a background with them designing industrial electronic equipment and they are for the most part bombproof and reliable. My interface was a 9 pin interface (5 wires for motor control and indication, 2 wires for audio signal, and 2 wires to carry +12VDC and ground to the footswitch in case I want to add an overdrive circuit later on).

The basic form of the pedal was made of some leftover cabinet plywood (I had plenty by this point in the project!) and some 1/8" textured ABS plastic sheet panels on which to mount the components (also from Parts Express). Speed and brake control switches were mounted on the slope front, indicators on top, and the interface connector and 1/4" phone jack were mounted on the front. Additionally I used a switching phone jack so that when no instrument was plugged in the audio input was grounded to avoid extraneous noise.

The control cable was assembled from the snake cable described above. This cable is normally used for building microphone snakes between a stage and remotely operated board and due to the fact that each of the 8 channels has its own shield the cable actually has 8 twisted pairs each of which is shielded. I doubled up the control wires for the relays and indicators so that each pair was effectively one wire, albeit a heavier gauge than the individual wires. Each of the shields for these were tied to 12V ground so that any noise they might generate when open or energized was shielded from the audio input. The 12VDC and ground wires were shielded through the cable as was the audio input whose shield was tied to its own signal ground. Shielding is a tricky undertaking to avoid ground loops which could contribute to overall noise if not done correctly. I leveraged my electronic design experience and what I learned still holds true. Once the cabinet was powered up and the foot controller connected the audio was as clean as it was when the keyboard was locally connected to the amplifier through a path that was 20 feet shorter.

The pictures below show details of the foot controller, interface cable and the connection of the interface cable into the power distribution panel. Also shown is a temporary setup in my studio before bottom molding was attached to the cabinet and cabinet staining and finishing, to check the Leslie as driven by the Behringer mixer on the upper left of the keyboard stack. Incidentally, the keyboard stand is a custom design I created by taking a base Ultimate Support A-Frame dual tier stand and purchasing extra tubes, and hardware to create what you see in the picture. The "music stand" is actually a nylon plastic cutting board which has had a 2" strip removed with a table saw and screwed to the back to implement something to hold music, books, etc. This was mounted to Ultimate Support hardware and is part of the stand. Additionally there are two vertical tiers on either side of the upper keyboard. The left tier holds the Behringer mixer and the right one holds an Alesis MMT-8 Sequencer and a Yamaha QX-5 Sequencer. The Behringer mixer is used to mix keyboards, a microphone (Hohner Blues Blaster) I use for my harmonicas, and a future organ module. The Yamaha keyboard on the lower tier is actually not supported by the Ultimate Support stand at all but rather by an "X-Stand". This allows me to take the Yamaha out along with my amps and mixer should the need arise, without having to dismantle everything. Not shown in the photo and at the diagonally opposite end of the room is the Behringer KX-1200 keyboard amp. The Leslie is driven off of the left channel of the stereo mixer with the "dry" keyboard amp driven off of the right channel. Upon testing the Leslie definitely had "the sound", including full spin up from a braked condition as well as using the brake to achieve intermediate speed changes between chorale and tremolo. Some of the sound I was looking for was the deep FM/AM effect achieved by Santana on "Jingo". For those who do not know, the organ was played through a Leslie with the vibrato through stopped rotors in the beginning of the song, and then, at an appropriate moment the rotors were spun up into a full tremolo. The resulting FM/AM at the moment the upper rotor was beginning to spin up provided an effect that I've never heard in an "acoustic" Leslie environment. After playing with a microphone position on the upper rotor compartment which was sent to the "dry" amplifier and performing this stopped-to-tremolo spin-up it became readily apparent HOW it was accomplished - the microphone is the key and puts a new spin on the sound (no pun intended). It is a result of taking a 3 dimensional sound and squeezing it down to 2 dimensions (due to the microphone's directionality) - you lose something overall but gain in another area.
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Finishing the Cabinet

As I planned on this cabinet having the "furniture finish" of the original 145 and the fact that I used top-grade birch cabinet plywood this Leslie was stained with a "New England Maple" finish, with the rotor compartments being stained to tone them down a bit so they wouldn't contrast with the finished exterior if it was played with the rotor-compartment covers off. Rather than use a urethane based finish which would show scratches and be time-consuming to touch up I elected to use a tung-oil finish. I found a reference to another site which refinishes Leslies for road use and they sandblast, stain and use tung-oil to refinish specifically for this reason. The photo shows the cabinet with the covers in place, which are also made from the same plywood as the rest of the exterior, even though they were "unfinished" in the original 145. Since the possibility exists that this could be played in a "traditional" position (reversed with the rotor-covers off) I wanted the cabinet to be finished on all 4 sides. The rotor covers and the rear center-compartment cover were finished with the same stain, and tung-oil finish.

Incidentally the reason the covers don't fit tightly to enclose the compartments is because the surface area of the openings are chosen to match those of the openings on each of the other three sides. The thought being is that I did not want major sound-pressure-level differences resulting in inconsistent "3D reflections" when the rotors spin from the vented sides to the rear side with the covers on. I believe that this was the original design intent with the "commercial" Leslies as they were designed to be played with the covers on. The picture below shows the rear covers in place before finishing. Stainless steel screws and washers are used to avoid corrosion.

And yes...even lacking the "official" Leslie chassis this unit did not disappointment me when I and my teenage son tried to pick it up! It reminded me so many years ago of why I sold mine after gigging every weekend with it for 5 years. I've resolved though that after all this work - I'm keeping this one!

If you have any questions on this project please feel free to e-mail me at obxwindsurf@yahoo.com
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