![]() ![]() Like any instrument, the Vintage B3 is a musical tool that deserves to be played. If you want to control this dynamically, switch the MIDI mapping to Native Instrument B4D (under the Expert Tab) so that the Mod Wheel can control the Leslie speaker. The Leslie speaker works best when moved between Slow and Fast speed settings, especially thanks to the inertia effect as it moves between the two speeds. At the bottom of the interface you’ll also find the distinctive switch that moves between a Slow and Fast rotation speed. When you do engage the Leslie speaker, the Vintage B3 takes on that classic ‘swirling’ tone, mimicking the acoustic effect of a Leslie speaker being spun around continuously. Without the Leslie, the Vintage B3 sounds cheaper, and distinctly less Hammond-like, although you can still run it through one of the amp choices in Amp Designer if you want a touch of speaker colouration. Indeed, if you’re interested in recreating a retro Vox Continental-like organ sound, it’s well worth exploring the Vintage B3 with the Leslie speaker in its Off position. The final essential ingredient is, of course, the Leslie speaker, originally built as an optional add-on for Hammond players in the 50s and 60s. The percussion effect sounds great on solo Hammond lines, as well as being the key ingredient of the quintessential House Organ Bass where the use of the 3rd harmonic creates a form of parallel harmonic motion. There’s also the much-loved percussion effect, which added a small 2nd or 3rd harmonic ‘plonk’ at the start of a note. The original Hammond came with its own Vibrato and Chorus effect, replicated with the two rocker switches on the Vintage B3’s Main page. Organ Donor Beyond the drawbars, there’re plenty of other ways to tweak the sound of the Vintage B3. Create three tracks in Logic (incrementally assigned to the Vintage B3’s first three MIDI channels) so as to access each Manual and recording performance data assigned to it. Otherwise, use the Multi mode and have the manuals spread across the first three MIDI channels. If you’re particularly ambidextrous and have 88 notes to play with, Split is a viable solution. Firstly, you can choose to run the plug-in in Split mode, whereby the manuals are divided across the full range of keyboard. ![]() The Vintage B3 offers two solutions to this problem. Obviously, if you’re after a truly authentic Hammond performance you’ll need to work between all three manuals, which can be difficult as most of us just use a single MIDI keyboard. ![]() The left-hand, for example, could play chords on the lower manual using a relatively simple sound while the right-hand solo’d using an ‘all-stops-out’ patch. Rather than having a single keyboard, the original Hammond has two separate keyboards (known as manuals) as well as a series of bass pedals that effectively forms the third manual.Įach manual has its own set of drawbars (hence the Main page on the Vintage B3 having a separate set of drawbars for the Upper, Lower and Pedals manuals respectively) allowing the player to build a performance from a number of different timbres. Rather than being a phone number, the numbers refer to the drawbar positions, so the aforementio000 would indicate that the first 3 drawbars are pulled out to 8, and the 4th to 2.įind the Manual One factor that might confuse a newcomer to the Vintage B3 is the concept of Manuals. It’s well worth a look on the Internet to find some Hammond enthusiast sites, which will often list classic Hammond sounds in numeric form – l000. The best way to understand the Vintage B3 is to appreciate the sound of each drawbar, which is handily colour coded between even and odd-ordered harmonics, on white and black drawbars respectively, as well as two subharmonics indicated in brown. By pulling the drawbars out to you, you can shape the sound – using just a few drawbars to create a relatively pure sound, or ‘pulling out all the stops’ to hear the distinctive wail at full tilt. The harmonics are represented by a series of drawbars, each working at a different pitch. In effect, the Hammond works as a form of primitive additive synthesizer, whereby a keyboard player can mix together a number of different harmonics to create a composite sound. To sound of the Hammond organ, and thus Logic Pro X’s Vintage B3, is defined by the principle of drawbars. ![]()
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