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Leslie manufactured the speaker to work with other organs besides Hammond, including Wurlitzer, Conn, Thomas and Baldwin. [6] He never particularly liked Hammond organs, once remarking "I hate those damn things." [7] In 1965, Leslie sold his Electro Music company to CBS, which had also acquired the Fender guitar company.
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.
"Unearthing the Mysteries of the Leslie Cabinet" Recording Engineer/Producer, April 1981 [29] "Designing a Conical Bass-Horn Control Room" Recording Engineer/Producer, March 1987 [ 30 ] Guest Editorial-"No Sweat, No Music – A Player Laments the Spread of Computer Dependency" Keyboard Magazine, August 1985 [ 31 ]
A keyboardist playing a live show with a big Leslie cabinet (visible to his right). The Leslie speaker is a specially constructed amplifier/loudspeaker cabinet used to create special audio effects such as vibrato, chorus and tremolo. The Leslie creates these effects by rotating the tweeters or horns or a spinning a sound-directing duct around ...
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]
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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. Besides the balance between the horn and the rotor the Leslie simulator offers many programmable details: slow speed, fast speed, up transition time, down transition time and stop transition time, and microphone ...
For his guitar solo, Page employed a backwards echo (where the echo is heard before the note), and also put his guitar through a Leslie speaker. [3] This was a technique Page had himself used as far back as his work with the Yardbirds, and faced serious opposition from audio engineers when he tried it on the earliest Led Zeppelin recordings.