Of course there is. If your ears are sensitive enough to detect rotor ramp interplay you would hear the top rotor spin faster, ramp up-ramp down, than normal with the pulse. It would be like a singer controlling vibrato. Fast? Or slow? And if singing with another singer it would be more harmonious if both singers had similar or sympathetic vibratos. And it is important both singers sing WITH each other not just sing to themselves. You might know that a record producer can hear all the music at once, all the parts as they sound and mesh on a track as it plays? Reason why on Leslie sims there are speed and mic distance parameter adjustments. On some sims like in the Roland VK8M draw-bar module there is even a "random" adjustment for the rotor spins to simulate mechanical variations in rotation. There is a classic Leslie ramp character. Some can't detect it, the interplay of the two rotors. When I was working major tours providing a B3 rig, one artist tech's idea of warming up the Leslie motors was to set the Leslie rotors on FAST during line-check. The reasoning was the fast motor is the least used and their organist could tell if the ramp character in FAST was sluggish. And over time as things get invented, an engineer looks at ways to reduce parts and costs thinking it's just a motor and a wheel not realizing (or caring) that changing the ramp character of the treble rotor has now made things different up against the bass rotor. And unless the drag of the cloth pulley belt and the clutch bearing of the treble horn rotor are factored into the "new" design, the original ramp character of both rotors gets lost. As what has happened with the pulse vs the stack system. It's like when they used to draw TV cartoons in the early 20th. Over time, for whatever reason, they reduced the number of movements drawn. Doesn't look the same, less life like.
I should also add that the STACK motor responds differently when changing speeds vs a single PULSE motor when changing speeds. The FAST motor is electrically turned OFF and the SLOW motor is turned on. There is a time interplay of the SLOW motor's spring loaded SPINDLE reaching the RUBBER TIRE on the FAST motor, taking control of the TIRE and slowing it down. And then when switching to FAST the SLOW motor spindle RETRACTS and the FAST motor takes over. This also defines classic RAMP CHARACTER. With a single PULSE motor, the single motor is expected to do the work of what used to be TWO MOTORS and there is an abrupt shift in the rotation of the rotors as speeds are changed. It's not as smooth as TWO MOTORS allowing for some "coast" effects of the rotors as the two motors interchange. It has an effect on the ramp character as the abruptness in the change is not part of the classic rotor ramp sound.
@@dragongoff Thanks for the detailed reply. Do you have any audio demos explaining just this? I'm a Hammond/Leslie nut (still have 7 remaining of my original 14 Leslies cluttering up my apparent).
@@Daring2Win No I don't. I would need a Leslie with a pulse motor to do a comparison justice. But from years of personal experience of playing a Hammond/Leslie rig and a Leslie in general, the reactions of a standard dual rotor Leslie based on stack motors, working on the motors, changing the springs and adjusting the stacks to engage fast/slow, I can hear the differences if the rotors respond the way I like to hear them. Since I use the Leslie rotors as an effect not just turn them on/off it has become part of playing organ through a Leslie. To get an idea of how I use a Leslie look for a cover I did, I Will Not Bow, on this channel. After the guitar solo in particular. It's knowing when to engage the rotors to ramp so that that the overall build of both rotors meshes with the music. It's an anticipation of approximating where the rotors will be during ramp (speed of both rotors) where they are in the acceleration/deceleration and then the chords/parts played on the organ. As both rotors move, whether in Chorale or Tremolo, certain harmonics jut out and it's about accentuating them and in the proper ramp time to mix/lock with the rest of the music. That's a Leslie 222 (two-twenty-two) the decorator model with the two rotors on the same plane not stacked on top like a 122, using a Roland VK8M draw-bar module and a Kawai Spectra 61-note controller. Did not use the B3/122 for this. And the amplification is not a Leslie amp but a Millennia STT preamp through a Mackie M800 power amp and a GOFFPROF (no relation) crossover with a 100-watt ferro-fluid horn driver and stock Utah Leslie 15". Then mic'd with 3 MXL condensers running through Neve pres. The 222 cab is in an iso-cabinet in the attic away from the studio. There is no amp in the 222 it's just rotors and motors, speakers. When the studio was built provisions were made for the switching to control the motors which is 120 volts ac to run from the studio to the attic to a metal conduit box using a 3-position heavy duty AC toggle switch. Not a half-moon. A pulse motor Leslie will not have the same belt/clutch/motor slippage and the single motor does not react like two motors. It's an either/or thing and since the rotors are physical they respond to inertia. In essence the bass rotor would need to trail in rotation in relation to the treble rotor. And not sound like the rotors are connected to a bicycle chain and sprockets. It's difficult to describe. Perhaps comparing it to a bird flying, when it comes time to land the wings are doing one movement and the tail is doing another if that analogy works for you. Two other covers I did feature organ/Leslie, Out In The Country and Miles Away. Again it's the Roland VK8M and the 222 same studio setup as described above. I have a standard 122RV and a 142 custom cab short-boy as well and a '59 B3. What 7 Leslies do you still have?
is there an audible difference?
Of course there is. If your ears are sensitive enough to detect rotor ramp interplay you would hear the top rotor spin faster, ramp up-ramp down, than normal with the pulse. It would be like a singer controlling vibrato. Fast? Or slow? And if singing with another singer it would be more harmonious if both singers had similar or sympathetic vibratos.
And it is important both singers sing WITH each other not just sing to themselves.
You might know that a record producer can hear all the music at once, all the parts as they sound and mesh on a track as it plays?
Reason why on Leslie sims there are speed and mic distance parameter adjustments. On some sims like in the Roland VK8M draw-bar module there is even a "random" adjustment for the rotor spins to simulate mechanical variations in rotation.
There is a classic Leslie ramp character. Some can't detect it, the interplay of the two rotors.
When I was working major tours providing a B3 rig, one artist tech's idea of warming up the Leslie motors was to set the Leslie rotors on FAST during line-check. The reasoning was the fast motor is the least used and their organist could tell if the ramp character in FAST was sluggish.
And over time as things get invented, an engineer looks at ways to reduce parts and costs thinking it's just a motor and a wheel not realizing (or caring) that changing the ramp character of the treble rotor has now made things different up against the bass rotor. And unless the drag of the cloth pulley belt and the clutch bearing of the treble horn rotor are factored into the "new" design, the original ramp character of both rotors gets lost. As what has happened with the pulse vs the stack system.
It's like when they used to draw TV cartoons in the early 20th. Over time, for whatever reason, they reduced the number of movements drawn. Doesn't look the same, less life like.
I should also add that the STACK motor responds differently when changing speeds vs a single PULSE motor when changing speeds. The FAST motor is electrically turned OFF and the SLOW motor is turned on. There is a time interplay of the SLOW motor's spring loaded SPINDLE reaching the RUBBER TIRE on the FAST motor, taking control of the TIRE and slowing it down. And then when switching to FAST the SLOW motor spindle RETRACTS and the FAST motor takes over. This also defines classic RAMP CHARACTER. With a single PULSE motor, the single motor is expected to do the work of what used to be TWO MOTORS and there is an abrupt shift in the rotation of the rotors as speeds are changed. It's not as smooth as TWO MOTORS allowing for some "coast" effects of the rotors as the two motors interchange. It has an effect on the ramp character as the abruptness in the change is not part of the classic rotor ramp sound.
@@dragongoff Thanks for the detailed reply. Do you have any audio demos explaining just this? I'm a Hammond/Leslie nut (still have 7 remaining of my original 14 Leslies cluttering up my apparent).
@@Daring2Win No I don't. I would need a Leslie with a pulse motor to do a comparison justice. But from years of personal experience of playing a Hammond/Leslie rig and a Leslie in general, the reactions of a standard dual rotor Leslie based on stack motors, working on the motors, changing the springs and adjusting the stacks to engage fast/slow, I can hear the differences if the rotors respond the way I like to hear them. Since I use the Leslie rotors as an effect not just turn them on/off it has become part of playing organ through a Leslie.
To get an idea of how I use a Leslie look for a cover I did, I Will Not Bow, on this channel. After the guitar solo in particular. It's knowing when to engage the rotors to ramp so that that the overall build of both rotors meshes with the music. It's an anticipation of approximating where the rotors will be during ramp (speed of both rotors) where they are in the acceleration/deceleration and then the chords/parts played on the organ.
As both rotors move, whether in Chorale or Tremolo, certain harmonics jut out and it's about accentuating them and in the proper ramp time to mix/lock with the rest of the music.
That's a Leslie 222 (two-twenty-two) the decorator model with the two rotors on the same plane not stacked on top like a 122, using a Roland VK8M draw-bar module and a Kawai Spectra 61-note controller. Did not use the B3/122 for this. And the amplification is not a Leslie amp but a Millennia STT preamp through a Mackie M800 power amp and a GOFFPROF (no relation) crossover with a 100-watt ferro-fluid horn driver and stock Utah Leslie 15". Then mic'd with 3 MXL condensers running through Neve pres.
The 222 cab is in an iso-cabinet in the attic away from the studio.
There is no amp in the 222 it's just rotors and motors, speakers.
When the studio was built provisions were made for the switching to control the motors which is 120 volts ac to run from the studio to the attic to a metal conduit box using a 3-position heavy duty AC toggle switch. Not a half-moon.
A pulse motor Leslie will not have the same belt/clutch/motor slippage and the single motor does not react like two motors. It's an either/or thing and since the rotors are physical they respond to inertia. In essence the bass rotor would need to trail in rotation in relation to the treble rotor. And not sound like the rotors are connected to a bicycle chain and sprockets.
It's difficult to describe. Perhaps comparing it to a bird flying, when it comes time to land the wings are doing one movement and the tail is doing another if that analogy works for you.
Two other covers I did feature organ/Leslie, Out In The Country and Miles Away. Again it's the Roland VK8M and the 222 same studio setup as described above.
I have a standard 122RV and a 142 custom cab short-boy as well and a '59 B3.
What 7 Leslies do you still have?