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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.
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]
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.
[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 ...
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.
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.
Pull My Daisy is a 1959 American short film directed by Robert Frank and Alfred Leslie, and adapted by Jack Kerouac from the third act of his play, Beat Generation. [ 1 ] [ 2 ] Kerouac also provided improvised narration .