Sure, a lot of Yes interviews said he had a double Leslie. Chris Squire described it as a single cabinet with two Leslies in it but he’s not the most reliable and no picture of such a thing has ever been seen… would he have brought two into the studio though is the question.
Great. Now With C3, we can do the same. I am telling you, this is where he got “that swirl” and deep grit. I am getting that in the 2 Leslie experiment I am chasing. ALSO, i discovered that Blue3 still keeps motor and leakage noise going, even with it’s being used direct out. SO, I now have swirl noise in Amplitube Leslie when not playing. Very cool.
Thanks to @dave_dore for bringing double Leslies up.
What a voice Carrack has… just golden.
Paul generally covered anything that was Hammond oriented.
His live rig was a Korg CX3 and a Korg M1. He used the on board rotary simulator which was … OK.
By the time we got to the 3rd album we were working well together as co-keyboards.
I love him as a human being and a musician… soul comes out of his pores.
So glad you chimed in Adrian. I am a huge fan of Paul (and you!). Just got his new album. I do several Mechanics covers, and just love them. Wish Paul would come thru the US but I know he has a big fan base in Great Britain and Europe. The above example of him playing solo on How Long has always been one of my favorites. I’ve been trying to achieve that sound he had on that solo with VSTs.
All that shows in his performances.
OK, let’s see your settings, now - very nice sound that…
Ordered jbridge, waiting for the software. Then I am going to use your set up. Thanks again.
Our band plays this song!! That is a great version! My brother played with Ace at one time. My brother is drummer (living in Chatsworth and playing in LA and surrounding areas). He doesn’t tour, because he has a real job with a retirement.
Send me that set up if you can. We play that song, as well. I haven’t worked on the patch for my band, because I am not a fan of the song. I just get a gritty organ with a close mic setting to emulate the volume fluctuation with the Leslie.
This is my VB3 1.4 version. I polished it to fit in with one of my loud bands. Note that I have upper on midi 3, so change that to 1, or whatever. The key to this is not so much the drive but the mic distance. Also key click was set higher in the global menu, and is velocity sensitive. This is very aggressive, so you may need to back off on volume in the gui somewhat to suit your needs. I think he starts the solo with the brake on, at least that is what I do. This sound is very close to “Green Eyed Lady” which I also play. I mostly use B5 on this now, just because it feels a little more realistic. VB3 1.4 is still the bomb though!
how long Carrack organ.cantabileSong (11.1 KB)
I can relate to that…except I don’t have a real job, just retirement and my local city tour.
That’s what I was thinking. It seems a variant of the standard jazz/KE 888000000 with percussion and chorus setting, just with more grit than is typical. (Keith made that sound VERY dirty at times though).
Cor blimey, I am away for a few days, and come back to 50+ posts on this thread! Some great stuff to read through in slower time!
I sit up late, geek too much, run off at the mouth…sorry. Unfortunately, I see no change in the future.
Whenever I try to achieve a certain organ sound from a particular artist, I do a search on their history and possible interviews, and any live videos available. Studio recordings sometimes produce an unreachable tone for live use. Cantabile and a wealth of many different vsts has given us ways to reach those studio recordings, but they still may not work in a live situation. As like anything found on the internet, anyone can throw out an incorrect drawbar setting. It is much akin to the incorrect postings on many sites like “Ultimate Guitar” where even the lyrics are many times wrong.
We all hear things differently to some extent, but many times I will feel that I have created the perfect setting, and watch it fail using it live. I see the same thing with my guitar amp sims. I still tweak on stage when possible, and have learned so much about this from the gurus in this forum. Example: @Torsten has convinced me how important it is to have an EQ on each plug, and have a link on a controller to adjust it to work in different rooms.
It is best to remember, these Hammond vsts are emulations and do not perfectly represent the real thing…but they are getting very close. In the end, they work for me very well, and beats the hell out of hauling the real deal. Even though bandmates and audiences don’t care that I am adjusting drawbars, and tweaking parameters during play, it still makes me feel good that I get the best out of what I have available.
I agree. For Pure Floyd and Welsh Floyd I did a lot of studying of the live videos to try and see what Rick Wright was using in terms of setup. Whilst you could never quite see the specific drawbar registrations, you could see the shape of them so you had an idea of the relative settings.
@Derek , on that thought regarding Rick Wright’s settings, I have always wanted more than the standard draw-bar stuff from the net. Could elaborate on your knowledge of his settings. I don’t really even know how many settings he crafted over the years but knew it was more than had been revealed easily. Floyd sure knew how to create their own sound and he was a big part of it.
Been here for sure, many of the keyboard tones I loved from recordings (especially the 60’s) are beneficiaries of some excellent natural room reverb where they were recorded as well as mic placement and selection. I have heard some of this material hundreds if not thousands of plays and the sound of them at home on a good stereo is how they are stored in my memory. Each room you are playing live in alters the depth of an instrument’s reverb settings (a large room doesn’t need the artificial verb added but a small absorbent room it helps) and the amount of ambient noise (quite high in a club) steals away the reverberant parts of the Organ patch you made that are preserved on the recordings. At least that’s my finding, that less reverb is preferred for my live work except the occasional ballad where it helps it.
That is so true Dave. My guitar gets lost in a live mix with too much fx. Most of the amp sim developers send out presets showing off their newest fx, so I just dial in my own. Unless a special song comes up that really needs fx, I go mostly dry. I do several Pink Floyd songs that need some spacial things, but I really leave reverb alone most of the time.
To me, the trick is to separate out the VB3 1.4 from its Leslie, place amps and drivers between it and a VB3 FX instantiation, to handle the Leslie.
My current config includes Ignite Amps Anvil and TPA1, the IVGI saturator,
I have the drive of the IVGI and the VB3 Pedal CC (NOT the volume) linked together, with some scaling on the IVGI. I don’t think the stock VB3 comes close to the presence and excitement one can get with these simple inserts between the organ and the Leslie.
Very nice Adrian. That is somewhat what I am doing with Amplitube, VB3 leslie disabled, Amplitube Amp of choice into Amplitube Leslie cab;. I will try your version… I will have get IVGI though. Excited to hear this.
Edit: Just gave this a try. Pretty nice. Enhances the bass tones and key click. Very smooth transition on the drive knob.