Van egy Holland ember, akinek nagyon tetszik a játéka. A hammond cég bemutató játékosa. Sajnos a hazájában senki sem ismeri, pedig szerintem nagyon jó. Akit érdekel, és szakít rá egy kis időt, itt megnézheti: http://keyboard.eskildsen.dk/ShowProduct.aspx?ProductId=7816
Windows média pléjerrel indítható a pirosan szedett részen. Aki nem akar unatkozni az elején, az a 17. perctől nézze. Szerintem érdemes!:-)
A héten -nagy reményeim szerint- összeáll rendesen az orgonám. Már újrakábeleztem az erősítő után, és Harangozó mester ketyeréjét is beépítettem. Már csak a toroid trafóra várok, hogy teljesen zajmentes legyen az orgona. Keresem azt a valakit, aki lepróbálná a hangszert valamikor.
Who knows whether the amazing Hammond B-3 would have been such a popular instrument in so many different musical styles without the assistance of the Leslie speaker? Capturing the Leslie's tone may seem just as mysterious.
What's so special about the tone? Several things: First, Don Leslie designed his speaker cabinets specifically to enhance the sound of the Hammond organ -- even though Laurens Hammond objected to Leslie's efforts and forbade Hammond dealers from selling Leslie products. (Ironically, Leslie speakers and digital Hammond organs are now manufactured by the same company, Hammond Suzuki.) Over the years many people have tried to improve the Leslie by replacing its speakers and amplifiers with more efficient and powerful components, but most B-3 players eventually realize that the original designer had it right from the get-go.
Second, rotating speaker components throw the sound around in a listening space, creating exciting animation and motion. Don Leslie was inspired by the sound of pipe organs, whose banks of pipes are spread across a wide space, leading to shifting note sources. And while the Doppler effect is often cited as the reason the Leslie speaker sounds so cool, Don has said that it's only part of the reason: "Everybody describes it as the Doppler effect, but they really don't understand what it's doing. There's a complex situation going on with the moving speaker. When the speaker moves toward you, the pitch will be going up. At the same time, there's radiation going over to a wall and reflecting back to you, and that sound is going down in pitch. The Leslie creates a broad sound made up of almost an infinite number of frequencies from all these changing reflections that are bouncing off the walls."
In the most popular Leslie speaker, the 122, it isn't actually the speakers themselves that move; they remain stationary while rotating components direct the sound. In the treble range, a horn driver is connected to a rotating twin-bell horn assembly, with one bell acoustically blocked so that sound only comes out one end. Bass tones below 800Hz emerge from a downward-facing 15" speaker and go through a spinning drum. Part of the charm of the Leslie 122's effect comes from the fact that the two rotating components spin in opposite directions. In addition, there are two speeds: slow for chorus and fast for tremolo. Since physical objects and momentum are involved, it takes time to go from one speed to another; the best players take advantage of this phenomenon by changing speeds at critical points in the music.
So how does one go about transferring the acoustic aspects of the Leslie to tape (or hard disk)? Below are tips from three experts on the subject: Dave Amels, Dale Ockerman, and Dave Vumback. Their recommendations sometimes differ, but they generally agree on one thing: Try alternative mic combinations and placements. "It's just like cooking," notes Ockerman. "You have to try different things here and there."
Dave Amels is a session musician, producer, and collector of B-3 and other vintage electric and electroacoustic keyboards. Dale Ockerman has played keys and guitar for the Doobie Brothers, Rita Coolidge Bill Champlin, and Quicksilver Messenger Service. Dave Vumback is a technician for Goff Professional, a Hammond support company in Newington, Connecticut.
Pronounced Doppler effect. "Stick two Shure SM57 dynamic mics right up to the top louvers at the opposite corners of the Leslie cabinet," Dave Vumback recommends. "You don't want to pick up wind noise from the rotors. We gauge the distance on how much wind noise we're getting. You can let it breathe; you don't really have to jam the mics in too close because the horn throws out a lot of sound. Record the signal from each mic onto a separate track, and pan the tracks hard left and right for a cool stereo effect. For the bottom, we usually use a Sennheiser MD421, a large-diaphragm dynamic mic that's good for capturing low frequencies. We only use one mic on the low end, and we put a wind screen on the bottom mic because the wood rotor stirs up quite a bit of air. On the other hand, the Styrofoam drum in a new Leslie doesn't create as much wind because it's lighter." Dave Amels adds that compression should be used for close-miking the Leslie, because the level can vary significantly as the horn and rotor turn, especially if you're using a cardioid-pattern microphone. "Jazz musicians hate to use compression," he explains, "because they like to play with lots of dynamics. You could move the mics away from the cabinet if there's too much variation in amplitude."
Mega Doppler. Dale Ockerman sometimes goes one step further than the "pronounced Doppler effect" for the ultimate Doppler experience and puts two mics -- Shure SM57s or SM58s -- each on both the upper and lower rotors. "Ideally you want to record onto four discrete tracks, two for the upper rotor and two for the lower rotor. Pan each pair hard left and right so that you maintain the stereo imaging and get a feeling of movement. If you mix two mics down to a mono track, you're cutting the Doppler effect in half, getting less of a feeling of movement."
Go mono. Here's how Keith Emerson's Leslie was miked in the studio in 1977 -- from the rear with the Leslie's upper and lower covers removed and using one mic on the upper rotor and another on the lower rotor. However, these days most recordists prefer miking through the Leslie's louvers instead of directly. "If you remove the covers so that you can see the revolving horn and bass rotor, and put your mics there instead of outside the louvers, you'll get a whoosh each time the rotors go by," says Ockerman. "That wind noise is dissipated by the louvers." Ockerman actually prefers this miking scheme over the "Mega Doppler" method, using only one mic each for the top and bottom rotors. He'll either record signals from both mics to separate tracks or mix them together onto one track when necessary. This approach may not result in such a dramatic effect, but it may suffice. "It depends on the song you're recording," he explains. "I'm talking about something like the Spencer Davis Group's 'Gimme Some Lovin'' with Steve Winwood on Hammond. Try not to use EQ; make it sound good with your mic placement. If you roll off all the highs of the Leslie, for example, you'll lose a lot of the tone." Ockerman also suggests using a tube mic preamp, "especially if you're recording digitally. A slight amount of tube saturation creates a nice, grindy sound." [photo by Dominic Milano]
Au naturel. "You can get a nice room sound with a large-diaphragm condenser mic, such as an Audio-Technica AT4033, mounted at a distance," Ockerman adds. "That will simulate what your ears pick up." Dave Amels concurs about the process and suggests doing the recording in a good-sounding room, not one that's acoustically dead. "Listen to the Leslie in the room first," he says, "because it won't record well if it doesn't sound good to your ears. Move around until you find where it sounds good, and that's where you should put your mic. Also feel free to move the Leslie around to different locations to find the spot where it seems to sound the best." As far as mics are concerned, Amels prefers "a Coles ribbon mic from England, placed about half as high as the Leslie about five feet from the cabinet. If I use two mics, I like the Sennheiser MD421 on top and an AKG D25 or D20 on the bottom. If I don't have either of those, I'll use an Electro-Voice RE20 or a Neumann TLM170. Also on top, I've used small-diaphragm condenser mics such as the AKG C451, which is good for a bright sound." Amels adds that the Leslie manual warned against putting a mic within 15 feet of the cabinet to avoid undesireable amplitude variations, but that isn't very practical in today's studio environment. "I tried it once in a 60' x 40' room with a 25' ceiling," he says, "and it sounded like it was recorded in a roller rink."
Jazz organ sound. "I've noticed that legendary jazz recording engineer Rudy Van Gelder uses a pair of MD421s on a stereo mount," Amels says. "They're separated by about one foot and he sticks them up pretty close to the top rotor. He didn't have a mic on the low rotor when I saw him recording; I think he used a direct signal from the organ, EQed out a lot of the high end, and mixed this signal with what was picked up by the mics. He panned the mic signals left and right, and put the bassy direct signal in the center."
The bathroom tone. "I like to put a Leslie in a small tiled bathroom that's just big enough to fit the Leslie and a single mic," Amels admits. "I use an AKG C414 in omni mode positioned dead-center directly over the top of the Leslie. This creates a very natural reverb, and gives it kind of the Phil Spector sound where he used to put a bunch of musicians in a room that was slightly too small, thus saturating the room with a wall of sound."
A Gerendást nem értem el, de keresem még ma ... (mindketten írtunk dalt a Not For Sale lemezre annak idején)
A P100 egy az egyben L100, ugye? .. és csak a chorus vibrato nincs meg benne az M-hez képest ... (bár én vibrato nélkül is vékonykának éreztem egy L100ast a hangszeremnél.
Én voltam a Hangfoglaláson, de csak körbe néztem. Koncerten, bemutatón nem. Hammondnak híre hamva sem volt (legalábbis a kiállított termékek között - ha csak a Nord Elektro generált "drawbar organ" hangját annak nem vesszük...).
De még egy rendes Rickenbacker gitár sem volt. Egyik helyen megkérdeztem, hogy miért nincs, erre a válasz: "De Uram! Ki fizeti azt meg!??".
szia
Nem egy Váci illetöségü kollega, szokott itt irogatni, különben szerintem nagyon jó hangszer ha nem rockos zenét akarsz játszani rajta. M100-am van eladó, nem akarod megcsinálni hordozhatóra? Ha különválasztod a felsőrészt az 50kg-os kategoriához közelitesz.
Amikor a kondi miki távolabb kerültek, kevésbé volt a hang "konkrét", értelemszerüen távolabb került. Ki kellene próbálni egyszer a két verziót egyszerre ízléses arányba összetenni.
queenZ ...hát én csak a keresztnevedet találtam ki, Trambi meg egyenesen 10-est lőtt. Csak nem azt akarod mondani, hogy kerek műanyag hártyákat ütlegelsz ritmus kicsalogatása végett?
Stebel Köszi a tájékoztatást a Leslie felvételeknek külön irodalma van, mindegyiknek van előnye hátránya, sőt a kihangosításhoz és a felvételhez is különböző beállításokat szoktak használni. Persze ráadásul minden mikrofonfüggő is. Kondi mikikkel távolabbról szokták épp az említett szél miatt a felvételt készíteni. Én személyesen nem szeretem ezt a kétoldalazást, mert olyan mintha 2 tölcséred lenne. Ezek a szokásos beállítások:
bár izlés kérdése is persze, de szerintem érdemesebb szűkebb szögbe állítani a felső mikrofonokat (90-120 fok), így is megmrad a sztereo hatás, és izgalmasan "sántít".
felvételen eddig csak a dire straits-nál hallottam 180 fokos mikrofonozást, a brothers in arms-ban. (persze bztos volt más is.), ezzel a megoldással dupla sebességgel hallható a tölcsér.
az alsó dobon sztem kicsit lineárisabb mikrofonnal korrektebb hangot lehet leszedni. a d112 100 Hz-nél emel egy elég komolyat.
A két sm57 volt felül (természetesen) teljesen kívülröl a leslie két rövidebb oldalánál a nyílásnál. Ez bizonyult a legjobbnak a stereo tekintetében. Az Akg alul, közel a dobhoz.
(sajnos sok idő nem volt kísérletezni ..., dolgozni kellett)
Nagyon érdekes volt úgy játszani, hogy a stúdiómonitorokon hallgattam vissza a jól meghajtott lesliet. Nagyon szépen szólt. Stereo lett, stb ...
Szia nem akartam a személyiségi jogaidat csorbitani, /no ez is barokkos, vagy milyen/ sok helyen már emlitettem szakmai körökben férjedurad vállalkozását,
és szerintem lesz reá érdeklödés , pláne ha ilyen managerek dolgoznak neki, mint te.
Elkészült az elsô stúdió felvétel a 147essel (sm57x2 + Akg D112) Zseniálisan szól a felvétel. Két rockosabb dal volt, kicsit túlvezérelt hanggal. Végre megszólalt, amit hallani akartam. Misi email-ben küldött rajza alapján készült egy új kijárat a hangszerre, amivel megoldódott minden probléma. Még a "bugyborékolás" is megjött. :)
Stebel
UI.:
Érdekes, hogy a világ legjobb kondimikrofonjaival sem szólt sokkal hatásosabban a dolog. (U87, KM84i, stb.) Nagyon nagy volt a "szél" zaj a forgás miatt, amit a pop filterek sem tudtak megfogni még akkor sem, ha a dobozon kívül mikrofonoztuk.
A Preston Billy's Bag (1963-66) lemezen csakis hammondos felvételek találhatók, zseniális. Kicsit soul, kicsit r&b, kicsit jazz. Leginkább a Booker T-hez hasonlítanám. victoraudio
