Russ,

You are partially correct. Think of the Doppler effect as you would a train going by as it blows it's whistle. As the train approaches, and goes past you, and further away, the frequency of the sound changes. A Leslie does do Doppler but unlike the train it throws the sound all over the room as a bonus. The Doppler is only the frequency shift as the sound approaches and departs.

Also as the Leslie horn faces you and goes away there is also a change in amplitude "loud and soft".

To sum it up a Leslie gives us three different effects:

Amplitude modulation ie. loud and softs
Frequency modulation ie. Doppler effect
and sound dispersion ie. throwing the sound all over the room

Tom

PS. Russ, if you had your masters degree from a good northern college (Michigan or Michigan State)instead of some second rate hillbilly college you would have known these things. (;

Hammond's 70th Birthday:
http://uk.youtube.com/watch?v=5Ck__wghRww&NR=1



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Larry
SynthZone Frapper

Beg to differ. Not quite that easy. The sound of 9 switches under each key sequentially completing a circuit on each busbar is what gives it the highly emulated, but not easily imitated, Hammond sound. Unless of course, you build a key switch with 9 contacts sequentially completing the 9 circuits.

To be sure, a really good Hammond player will exibit a fair amount of control over those contacts and their closure speed.

Where's the edit button ? I need to correct the spelling of "exhibit" in my post above.

Russ,

I screwed up the wink, northern education I guess. I'll have to try again.

Pianodano,

The key contacts are not keyed in sequence but simultaniously. All nine fingers go down and contact their respective busbars at the same time. This is nothing new. I repaired organs for ten years and many companies did the same thing. Conn was a big one to do this also. I beg to differ that a good player can control this in real time while playing. Whoever told you this had no idea of what they spoke or they were pulling your leg.

Tom

Tom, I got the message withoiut the wink, and ENJOYED IT!

The UK Flash

Sure, Tom, but it the sound of a not perfectly regulated set of contacts that gave old electro mechanical organs their character, the sense that each one was individual (along with many other factors, of course), and contributed towards the famous 'key click' sound which has STILL to be successfully imitated by the clones, IMO.

But it is strange... Put any (OK, most!) of the clones into a 147, it will fool me if someone ELSE is playing, but sit at the bench and run your fingers across the keys, and NONE of them seem to have got the waterfall keys spot on, something you'd think fairly easy to accomplish. Some of them don't even come close to a B3's touch. Most keyboard manufacturers spend a FORTUNE trying to duplicate the exact touch of a grand piano. Why so little attention to the touch and feel of a B3..?

I think it is one of the main reasons so many cling to old, long in the tooth originals, when the clones through a Leslie sound SO close...

Well excusssssssssssssse me. You must know what you're talking about since you worked on em and everything.

I'm gonna go play my January 1956 C-3 for a while. Btw, What's your opinion on caps ? You like the early wax or later orange better ?

Orange!

The first organ I ever played and the first song I ever played was "Silent Night" on my uncle's B3. That was 1961. I was able to get very expressive on that song by pressing each key a thousandth of an inch at a time to take advantage of those out of adjustment key contacts. Of course the song took 45 minutes to play.

Tom

Tom