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Just turn down the preamp drive parameter and get a clean tone! This knob initially did not appear to do anything at all. No amplitude change, no change in harmonics. I asked the developer for clarification, and this is what Edouard had to say:. However, you will need to play several notes at the same time to get a sufficient output level and overdrive the preamp circuit.

With all drawbars out, if you play 3- or 4-note chords you can just hear a little bit of distortion — excuse me, saturation — with the Preamp Drive all the way up. Oh well.

Funny how a genius can be a fool at the same time. Lacking those annoyances, emulations are most welcome substitutes. Leslie sims are always going to be a compromise of convenience over authenticity. Today there are a number of Leslie emulation plugins available, either as an integral part of an organ soft synth e. None of them sound exactly like the real thing un-miked in an acoustically-live space, but most are acceptable in a mix. B3-V includes a respectable Leslie simulation.

Keyboard Musician's Library The Hammond Organ Beauty in the B Second Edition

There are no microphone distance or angle adjustments, but the Width control serves a similar function. There are no cabinet options other than vented vs. Most users will consider these omissions acceptable tradeoffs for simplicity. The reverb is post-Leslie, which gives it a richness beyond what the classic Hammond spring reverb could deliver. Authenticity aside, the twenty included IRs all sound very nice. Leslie Shootout. One final observation about Leslie sims.

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Looking at the waveforms of all these side-by-side, many looked surprisingly compressed. These two waveforms actually have close to the same RMS levels, but as you can see their crest factors are quite different. I believe this comes down to how much of the tremolo effect is audible.


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Consequently, the waveform on the left is what you get. Listen to the demo above and see if you can hear the difference. To my ears, the ones with the highest peak-to-average ratio sounded wider and richer.

I will concede, however, that a more stereophonically-reduced sound is sometimes called for in a dense mix. Hammond B3s featured a two-octave pedalboard. You may have noticed that in the image at the top of this page, no such device is shown. Are there pedals or not? B3-V implements two independent manuals that can be played from a single keyboard via a split, or by using two separate keyboards. Therein lies the clue to where the elusive pedalboard is.

Even though there is no pedalboard shown in the graphic, it does exist internally. First, open the Advanced Settings window by clicking the double-arrow icon:. Next, click on the button at the bottom of the Advanced Settings window labeled Multi. That will bring up a dialog where you can set MIDI channels for each manual, as well as transpose them. I finally gave up and asked the vendor. There is no master tune option. By the way, I should mention at this point that every time I pestered Arturia with questions they answered promptly, frankly and concisely.

Props to their support ethic. Arturia have thrown in some interesting modulation capabilities that have nothing to do with authentic Hammond emulation. Hammond would have objected, though. After all, his organ was the original synthesizer. Even though its original intent was to replace pipe organs in churches, it was clear early on that the tonewheel organ was versatile enough to take the instrument into new territory.

Hammond won. Thinking of the organ as a synthesizer, it kind of makes sense to add some synth-type features such as modulation. But I have to give credit to Arturia for taking this beyond anything I would have imagined. You can apply amplitude modulation to each and every drawbar individually from an LFO, an envelope generator, even a step sequencer.

This truly does take the Hammond organ into new territory. You can have up to ten MIDI-selectable modulation configurations, routed to any of the drawbars, in any combination of LFOs, envelopes or step sequencer. Conventional organists will likely be confounded by this feature, but I urge you to give it a go anyway. In a further nod to the concept of organ as synthesizer, Arturia also added some simple envelope controls as well. I was surprised by just how much this small feature changes the sound of the instrument.

I have long used subtle choruses with organ tracks, going back to my physical B-3 days. The phaser, delay and flanger are also pretty good. Bobby Owsinski. The Unforgettable Photograph. George Lange.

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