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In 1965, Leslie sold his business to CBS who, in 1980, sold it to Hammond. Suzuki Musical Instrument Corporation subsequently acquired the Hammond and Leslie brands. Because the Leslie is a sound modification device in its own right, various attempts have been made to simulate the effect using electronic effect units.
Korg CX-3 (1980) According to journalist Gordon Reid, it "came close to emulating the true depth and passion of a vintage Hammond." [1]Transporting the heavy Hammond organ, bass pedalboard (a B-3 organ, bench and pedalboard weighs 425 pounds/193 kg) and Leslie speaker cabinets to performance venues makes it cumbersome for artists to tour with a vintage electromechanical organ.
A cross-section showing the inner workings of a Leslie speaker cabinet "Tomorrow Never Knows" was the first song attempted during the sessions for Revolver, [40] which started at 8 pm on 6 April 1966, [41] in Studio 3 at EMI Studios (subsequently Abbey Road Studios). [14]
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Leslie assembled the speakers himself in his garage. [4] He produced speakers under various names before settling on Leslie as the universally accepted name by 1949. [5] Also in 1949, Leslie was granted a patent for his "rotatable tremulant sound producer," [6] the first of 48 patents that Leslie would acquire over the course of his career. [5]
A feature not found on the 1979 CX-3 or on the vintage Hammond B-3 is the 2001 CX-3's EX mode, which enables the user to produce new and even unusual synthesized sounds using the tonewheel synthesis engine. The CX-3 does not have an 11-pin Leslie speaker jack, a feature found on vintage Hammond B-3's and on earlier clonewheel organs.
The band's sound and presentation tended to lump them into an avant garde category shared by other "noise-oriented" bands who may or may not have shared Morsel's instrumental abilities. Hussey revealed in the Moo interview that “Miriam runs her flute through a ‘Leslie’ cabinet (rotating horn), and she sings through her flute microphone.
The band's sound was characterized by their use of a rotating Leslie cabinet for Rodgers' guitar and their emphasis on improvised jams during live shows. The Codetalkers were also notable for their "taper-friendly" policy, encouraging fans to record and share their live performances.
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