I would like to hear more about your product for motor speed control. We do this by controlling the voltage to the motors individually. Hope this helps! Thanks for this. One was in my church when I was growing up. The other was at the Ottawa Jassfest several years ago. So many folks heard a Leslie for the first time in church — whether they realized it or not!
I am glad to be a part of this forum. Obviously the Leslie speaker is closely associated with Hammond organs. As is mentioned above, the Leslie can impart an ethereal wobble to any instrument, voice, etc that you put through it, with amazing results.
The psycho-acoustic Doppler effect can be synthesized but not duplicated. I also love Mellotrons. I run that through a Roland KB amp. I have yet to run the because of connectivity issues. Any hints would be appreciated! The previous Jensen failed during a loud jam session using a solid estate amp. I sometimes use a Danelectro Transparent Overdrive to boost the signal. No horns. Sounds like a beast! You obviously understand all this technical stuff!
We can help ease the interface questions- check out the LBB family. Well there are actually two versions of the Leslie sound: a recorded Leslie, and a live Leslie in a room. The electronic imitations have become very good at reproducing this recorded sound and these musicians will say that they sound like the real thing. A live Leslie in a room is different and awesome!
Hard to do with a stationary speaker… Our ears hear sound frequencies, amplitudes…and direction. Across multiple models throughout the years, the Leslie speaker relied on the same basic mechanics. A treble speaker sits high in the unit, rotating on a fixed pivot point. A bass speaker is mounted lower in the unit, inside of a rotating drum with a narrow aperture for sound to escape. The rotation causes sound sources themselves to grow nearer to and farther from the listener, even while these sound sources are housed in a stationary cabinet.
In the late s, Donald Leslie brought an electric Hammond organ home. He wanted that massive, quivering sound he heard on pipe organs in churches and movie halls.
Channeling his experience in mechanics and electrical engineering from his stint at the National Research Laboratories in Washington D. By , he had a prototype of his rotating speaker system and approached the inventor of the Hammond organ, Laurens Hammond. He thought it lacked a desirable sound or obvious application. Little did Laurens realize, organists would adopt the Leslie far and wide, no matter what brand organ they played. Likewise, the Leslie speaker would go on to become a constant companion to the Hammond organ on studio recordings and live performances.
Leslie went ahead and started his own company, Electro—Music, to manufacture the speakers. He started selling them under a variety of brand names in and started marketing them under his own name in The speaker was selling so well that Leslie had no need to advertise. Word of mouth had left him barely able to cope with the demand. Laurens Hammond grew disdainful of the device and its sound. He went as far as designing a proprietary connector to make it more difficult to run a Hammond organ through any third party speaker and coerced his dealers into agreeing not to sell Leslie speakers.
But Don Leslie, successful in his own right and maybe a little bitter, refused to sell. This added an obstacle to using the Leslie for something other than an electric organ. The Leslie also required a line level signal, meaning that passive instruments needed a signal boost in order to sound through the speaker.
Modifications with a pre—amp were necessary in order to use the early Leslie models with a guitar or microphone. It was meant to color and affect an audio signal, much like a guitar amplifier or effect pedal. The Leslie were easily and often hot—rodded: drivers could be disabled, crossovers re—installed, the amplifier disengaged or replaced.
The company expanded their offerings to units meant for other organs, and "combo" units which could be used with other instruments such as a guitar or combo organ. Hammond finally purchased the company from CBS in , and begain offering Leslies bundled with its organs.
The canonical Leslie model, the , contains a tube amplifier and two speakers, a tweeter and a woofer, both fed from a passive crossover.
The speaker elements themselves do not actually rotate. The tweeter is a compression driver that fires into a Y-shaped rotating horn, one side of which is blocked.
The woofer fires into the top of a cylinder-shaped wooden rotor which has a window cut in one side. Each of the two rotating elements is driven by a two-speed motor. In Leslie terms, the fast speed is "tremolo" and the slow speed is "chorale"; tremolo is typically around revolutions per minute, and chorale is RPM.
Either a foot swtich or a "half moon", installed on the front edge of an organ and activated by the knee, is used to change speeds.
Leslie produced a variety of other models based on the same basic design, with both single-speed and dual-speed motors, and both tube and solid state amplifiers. Rear of a Leslie Note rotary horn with drive belt top , motors center left , woofer center right , rotating drum bottom right , and amplifier bottom left.
The rotating elements produce both frequency modulation and amplitude modulation effects as they rotate, due to the Doppler effet and the effect of the rotors alternately pointing towards and away from the listener. The two elements are not synchronized, so the resulting effect is complex.
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