I'm told by numerous others that the have had similar good luck with an E-V 's sturdiness and power-handling ability.
Replacement of the Leslie driver involves, first, removing the backs from the upper and middle cabinets to provide access to the driver and horn.
A special adapter is necessary to fit the screw throat PA driver to the stock Leslie horn, as shown in Figure Supply it with 40 watts of a 30 Hz pedal tone and it shakes a lot.
You may also be getting dangerously close to the driver's excursion limit, but it seems to be pretty sturdy. I've certainly heard of them breaking with "stock" use. If only a keyboard is used through the system - one without a lot of deep bass - and you protect the driver by filtering out the low-end, the unit may handle lots more as you approach its "thermal limit". If you want to avoid running the risk of breaking the bass driver, the easiest solution is to replace it with another unit capable of handling higher loads.
Speaker choice is left up to the individual; since it's a matter of taste I can't really recommend any. An inch speaker will fit with the following modifications: a spacer ring has to be added between the speaker and the Leslie baffle so that the cone doesn't hit it , and part of the back panel may have to be whittled out for certain larger inch speaker frames. Crossover Modification The stock Leslie crossover is a 12 dB per octave, Hz unit requiring both ohm high- and low-frequency drivers for correct performance.
Most "mondo-power" inch woofers have an impedance of 8 ohms, which tends to extend the reponse a bit higher than Hz. Although this shouldn't cause any difficulties, it will make an 8-ohm high-frequency driver extend a bit lower, which will definitely cause excursion problems. The answer is to either buy a ohm replacement driver, or perform the following modifications. If the Leslie is fitted with both 8-ohm high- and low-frequency components, a stock Hz crossover can be obtained from JBL, Altec, and other manufacturers.
The crossover handles well over watts RMS, and is made from aircore coils and Mylar capacitors. Besides being a true "hi-fi" crossover, it would make an excellent choice for a super-power system. It is also possible to design and build your own crossover network from drawings and circuits published in any of the audio textbooks and cook books. The best, most versatile and most adjustable solution would be to biamplify the Leslie.
Again, it's "art", right? A Crown VFX-2 and stereo power amp would be a great setup with which to experiment. Lastly, a crossover network consisting of a single series capacitor is a possibility 20 microfarad for 8-ohm units, and 10 microfarad for ohm. It allows full-range sound to pass to the bass speaker, and high frequencies above 1 kHz to the treble speaker with a 6 dB per octave rolloff.
Such a crossover network has been used successfully, and produces a very interesting and pleasing sound. Microphone-Prepared Stock Leslie This technique has been used very successfully in a live-music situation. A pair of small electret lavalier microphoes are permanently fastened to opposite corners of the treble horn compartment. Output from these mikes is connected to an external stereo mixer equipped with equalization - hopefully by a permanent connector fitted to the back of the Leslie cabinet - and hence to a stereo power amp and a pair of speakers located on either side of the stage.
If a stereo PA rig is being used, the mikes can be fed into two channels of the front-of-house board and panned left and right. As with anything, "good taste" in EQ and general technique is required to achieve a good sound. Actually, bad taste might work well, too; try both. Wind noise from the horn is not a problem, and minimum mechanical isolation is needed. Lack of wind noise is probably because the cabinet corners are "stagnation" or dead-air spaces.
Wind noise, if present, can be reduced by using an open-cell reticulated Scottfoam wind screen on the mikes. An obvious extension of this mike technique is to do the same with the lower rotor, and obtain a mixed top and bottom left and right sound.
Apparently, the "top-only" technique works very well in a live situation, but might also serve the purpose for a studio Leslie. Tandem Rotors Slower acceleration of the lower rotor is occasionally undesirable - certainly, a matter of personal preference only. To give a more dramatic Leslie sound, the top and bottom rotors can be mechanically linked so that both will turn in sync, and the pair of horns face in the same direction.
Silver Sound Systems South Morris Avenue, Crum Lynn, Pennsylvania built the little screamer with tandem rotors shown in Figure 11, which is an example of a well-prepared custom Leslie unit. It enhances the Leslie action by putting full range sound into the bass unit and only high frequencies to the treble unit. This customized unit was designed for use with electric guitars.
Motor Speed Change A really effective means of changing the rotor speed is to reach into the treble motors, and move the belt from one of the three drive pulleys to another. Tricky, eh?
Actually, that's what they are there for; you are supposed to do it. My own preference is the middle pulley. There have been a variety of speed change controls made available for Leslie motors. None have been very successful, however, since they just lower motor voltage, with the result that the motor will usually draw more current and possibly burn out.
Watch out for these things. Leslie motors are A. However, their speed is determined by the 60 Hz frequency input, which is the same problem as varying tape-drive speed. The only solution that makes any sense is to hook-up a Volt variable-speed oscillator. This can be constructed from a generator and tube amplifier that has a Volt output tap. Just like the old days, Sonny. I am told it is really not worth the trouble though - the intermediate speed doesn't really sound very good.
You migh also want to use it as send and receive device, like an echo unit, with a high level send to the Leslie Amp, and a mono or stereo microphone receive. You could put it in a studio, in a reverb room or in the bathroom during the mix, or you might use it live.
However, the following are some standard techniques and descriptions of behavior. Mono Recordings I have recorded Leslies with a single microphone mounted as close as 1 foot from the treble horn, with very pleasing results. If the mike is placed even closer within several inches the severe amplitude-modulation effect becomes very annoying, and wind noise from the rotor at high speeds sounds like you have a helicopter in teh room.
Which is a sound you might want. The same thing happens on the bass rotor, where up close there is also a lot of mechanical noise. A loose scrim will be real noisy; tighten it up. The sound from both rotors is mellower coming out of the louvres.
By removing the back panels and miking the Leslie from the rear, the sound is more "direct" and defined. Stereo And Multi-Mike Recording Use of two mikes on the top and bottom of the cabinet is a very effective way of getting a good sound, bearing in mind the AM effects of close-miking. The best way I know of recording a Leslie, however, is in stereo.
The left and right channels can be recorded with either a top and bottom pair of mixed mikes, or with just single mikes panned between left and right. The stereo image achieved with two pairs panned full left and right is very exciting. Many combinations are possible though, the point being that a Leslie is capable of providng a great deal of spatial information.
I spoke with a few engineers I know about such recording techniques, and here are a few of their preferences: Jay Mark Sigma sound, New York has been pleased with a "tight" or "direct" Leslie sound, when recording organ.
His principle reason for this is because the organ is used as background and not a featured instrument; the tight sound is needed so that the organ sound is very clear and unmistakable, even when way down in a mix.
Jay has used the folloing setup with good results: an RCA 77DX ribbon at back of the top rotor cabinet, about 8 inches from the treble horn, with the high-end rolled of to suit.
He also uses, at the back of bottom rotor, a U87 with the lows rolled off, and mixed with the top mike to suit. He remembers experimenting with the top and bottom sound panned left and right, and not liking the effect. Allen Sides Ocean Way Recording, Hollywood prefers a pair of tube U67s, located about 5 feet away from the Leslie, aimed midway between top and bottom rotors, and spaced 10 feet apart. The mikes are panned left and right, and recorded on two separate tracks. Allen prefers the U67's natural roll-off on the high-end for de-emphasizing the high-frequency distortion on top.
He told me of recording Billy Preston, who played a Fender Rhodes electric piano with stereo vibrato, and sent each channel to two separate Leslies.
Joe McSorely Veritable Recording, Ardmore, Pennsylvania likes to use a pair of U87s mounted relatively close in top and bottom cabinets. For a "tight" organ sound, he rolls of the lows from the bottom rotor, but records the top flat. Joe echoes a repeating problem - wind noise up close - and he always uses windscreens on the mikes.
He says that most organ Leslie recordings done at Veritable are on one track, but a great "fake stereo" mixdown effect can be achieved by panning the dry track to one side, and using a Harmonizer in the "doubling" mode on a second track panned full opposite.
Joe describes the resultant sound as "monstrous". Several Odd Things To Try An interesting sound results from running a full-range inch speaker with a full range signal into just the bottom rotor. It should be obvious how to do this. The slow acceleration and deceleration of this massive rotor is quite different from the top unit, as is the frequency content. Try it. There's one other item. Iknow for a fact that certain old Leslie Cabinets have a structural resonance in the wood and probably in the louvres, but it's the real thing.
The old wood is simply more resonant, and Hammond percussion notes really set it off. It's like these guitar players running around in South Carolina pawn shops looking for the ultimate '56 Fender Strat. I've heard Leslies on records that just have a legendary tone to them, and others that "just play regular". Go around and knock on a few new and used Leslies - especially the louvres - and see if you think I'm crazy. Anyway, the point to this was, why not try putting a FRAP pick-up on the louvres.
Experiment - see if you can bring more of the sound out of the wood. There are many other brands of organs that have been played through Leslies during recording sessions, but "The Sound" which accompanies this great rock and roll Spirit of America is, pure and simple, a B3 and a Leslie. The Isley Brothers used the fast Leslie all the way through their hit "Shout".
Joe on 4. June reading time: 5 Min. Read on… And so it rotates… The spinning of the components inside this magic cabinet results in a special modulation of the pitch by exploiting the Doppler effect, which, depending on the speed of rotation, produces either a pulse effect or a special vibrato.
Learn more Load video Always unblock YouTube. Lester G Lester K. Joe has been singing since he can remember and started playing guitar when he was He's been using it as a songwriting tool ever since. He is passionate about melody and harmony and admires musicians who create these in unique ways. Show all blog posts by Joe. Top 5 Guitar Pedals of Joe on November How to improve your Piezo sound on a budget. October Got effect pedals? Get on board! January Top 5 Overdrives: Low Budget. Larry on 4.
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