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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.
The Leslie Speaker and the Hammond Organ brands are currently owned by Suzuki Musical Instrument Corporation. Due to the large size and heavy weight of the Leslie Speaker cabinet, some keyboardists use a small effects unit, such as the Uni-vibe, instead, and plug the unit into a regular keyboard amp. The most expensive rotating speaker effect ...
The Codetalkers were known for their extensive touring, particularly in the eastern United States, and appearances at major music festivals such as Bonnaroo and Vegoose. 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.
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.
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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]
Danger music is an experimental form of avant-garde 20th- and 21st-century music and performance art. It is based on the concept that some pieces of music can or will harm either the listener or the performer, understanding that the piece in question may or may not be performed. [ 2 ]