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An animation showing the behavior of a Leslie speaker when running. 1 = Horn enclosure 2 = Compression driver 3 = Treble motor 4 = Crossover 5 = Bass motor 6 = Woofer 7 = Drum enclosure 8 = Drum 9 = Cabinet Amplifier not pictured. The Leslie is specifically designed, via reproduction of the Doppler effect, to alter or modify sound.
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.
1939–1942 [16] Almost same as Model A-B but with church style cabinet. [16] CV: 1945–1949 [17] Based on Model C, Hammond Vibrato was added. Similar to the B-V, but without a chorus generator, and with in a church style cabinetry. [17] C-2: 1949–1954 [11] Identical to the B-2 except for cabinetry (Tudor-style "closed" cabinet). C-3: 1954 ...
Donald James Leslie (April 13, 1911 – September 2, 2004) was an American inventor best known for the Leslie speaker and its distinctive effect commonly used with the Hammond organ which helped popularize electronic instruments.
The Korg CX-3 is an electronic clonewheel organ with drawbars that simulates the sound of an electromechanical Hammond organ and the Leslie speaker, a rotating speaker effect unit. The CX-3 was first introduced in 1979. [1] [2] Two models of the CX-3 were produced: a 1979 analog version and a 2001 digital version.
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.
Cellier, Leslie and Stephenson. Although billed as a "comic opera" like the popular Gilbert and Sullivan operas on the London stage at the same time, Dorothy was a key forerunner of the Edwardian musical comedy, bearing many of the attributes of that genre.
[1] ” 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 ...
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