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==Models== ==Models==
===Single speed models===
{{refimprove|section|date=September 2013}}
The first model of Leslie produced was the 30A. It emulated Hammond's DXR-20 tone cabinet, which used moving drums but only produced amplitude modulation, not frequency modulation. It contained a {{convert|15|in|mm}} drum and the power amplifier was housed in the top of the unit, to allow easy repair.{{sfn|Faragher|2011|p=106-107}}. This was superseded between 1947 and 1949 by the 31H, also known as the "Tall Boy". It was similar in appearance to the 30A, but contained additional louvres along the top of the cabinet. Also, reflectors were placed on the end of the horn, to allow the treble signal to exit the unit through the sides, rather than on the top.{{sfn|Faragher|2011|p=107-108}} The initial models of Leslie speakers did not have the "chorale" setting. The control switch was simply a choice between "off" and "tremolo". The first model of Leslie produced was the 30A. It emulated Hammond's DXR-20 tone cabinet, which used moving drums but only produced amplitude modulation, not frequency modulation. It contained a {{convert|15|in|mm}} drum and the power amplifier was housed in the top of the unit, to allow easy repair.{{sfn|Faragher|2011|p=106-107}}. This was superseded between 1947 and 1949 by the 31H, also known as the "Tall Boy". It was similar in appearance to the 30A, but contained additional louvres along the top of the cabinet. Also, reflectors were placed on the end of the horn, to allow the treble signal to exit the unit through the sides, rather than on the top.{{sfn|Faragher|2011|p=107-108}}


The next models to be produced were the 21H and the 22H, which had a cabinet in a similar styling to the better known 122, with the same dimensions and louvres. They were powered by a 40 watt tube amplifier.{{sfn|Faragher|2011|p=108-109}}
<!-- p108 21H, single speed 122, p109 22H - single speed 122 same dimensions, 145lb -->


===Model 16=== ===Dual speed models===
The 122 is the most popular Leslie. It was specifically designed for the Hammond organ and is the model most commonly identified with it. It is {{convert|41|in|mm}} high, contains two motors for "chorale" and "tremolo" and a 40 watt tube amplifier. The 122 is the most adaptable to being recorded, as it contains a ] which eliminates ] and other noise, allowing for a quiet operation overall.{{sfn|Faragher|2011|p=109}} The 122RV was the same model, but with an additional ] amplifier, which fed through to a separate static speaker.{{sfn|Faragher|2011|p=110}} A slightly smaller version, the {{convert|33|in|mm}} 142 was available.{{cn} Hammond-Suzuki currently manufacture the 122A, a straight reissue of the 122, and the 122XB, which contains a modern 11-pin adapter, an IECC mains adaptor, line-in, and a jack socket for a footswitch to control the speed. This eliminates the need for a combo preamp.<ref>{{cite web|url=http://hammondorganco.com/products/leslie/122xb/|title=122XB|publisher=Hammond-Suzuki USA|accessdate=10 September 2013}}</ref>


⚫ The 147 is the "universal" version of the 122, designed for any organs, and has a different amplifier input and motor speed control. The signal input is unbalanced, allowing a simpler connection to organs, that have a built-in speaker system, such as the Hammond A100, or a Wurlitzer. The motor speed switching uses a separate ] signal, rather than the ] voltage control of the 122. In operation, the noticeable differences between the 122 and the 147 are the 122's lower susceptibility to induced noise, and a delay between operation of the speed control and the actual change in speed. As with the 122 and 142, the 145 is identical to the 147, except that it is housed in a {{convert|33|in|mm}} cabinet, and thus slightly easier to move.{{sfn|Faragher|2011|p=111}}
⚫ The smallest Leslie is the Leslie Model 16, made in 1970. It has a ]-like speaker body and a rotating foam dispersion block. It was built for rough club touring, was portable, and had "Leslie" written on the front. It was also released later as Fender/CBS's "Vibratone". ] used this model on the song "Cold Shot" from the album '']''. It can also be heard on ]'s "]" and ]' "]".

===Model 25===

An earlier model, essentially a single-speed 125. Like its successor, the 25 has one 12-inch speaker pointed into a single wooden baffle. These Leslies are relatively inexpensive, and in recent years have been made popular with guitarists wanting to achieve effects similar to those of ].

===Model 122===
<!-- Faragher p 109-->
The Model 122 is the classic two speed 40 Watt tone cabinet most commonly used with Hammond console organs, such as the ], C3 and A100 models. Some organists connect two or more of these to their organ for a louder and more widely-spaced "surround" effect. A modern reproduction is the model 122A. This is the Leslie of choice for recording studios or other sonically demanding applications due to the quiet operation of the Model 122's differential signal input design. Leslie Model 142 is identical to Model 122, except that it is housed in a 33-inch-tall cabinet, and thus slightly easier to transport than the 41-inch-tall Model 122, with a different overall sound, that being of less but tighter bass.

===Model 122 RV===
<!-- Faragher p 109 - 110-->
This unit has the same amp, speakers, motors, 6-pin Leslie cable, as the 122 with the addition of a dedicated tube reverb amp and an extra reverb speaker. The reverb amp is located next to the treble rotor in an enlarged upper cavity to compensate for the amp, which shortens the bass rotor speaker cavity slightly, keeping the RV the same overall dimensions as the 122. The reverb amp, tapping AC off the 122 amp from a stock AC outlet set aside for a reverb amp, receives an audio signal taken off the Leslie crossover. The reverberant signal then feeds a single ] 6x9-inch speaker situated within the bass speaker cavity with its own enclosure to seal it off from the 15 inch bass speaker.

The 6x9-inch speaker vents to smaller louvers, cut on either side of the Leslie cabinet situated just under the top rotor louvers. But only one set of smaller louvers has any signal. The other side is blocked off with a plate and for all intents looks to be there for decoration and visual balance. No one knows for certain, why Leslie did this for the 122 RV as other models like the 222 RV had dual 6x9-inch speakers. Part of the design for the 122 RV, the 6x9-inch speaker mount location incorporates two round openings, that vent into the upper rotor cavity, through the wood shelf, just under the treble rotor.

These two holes catch the 6x9-inch speakers' reverb sound coming off the special 6x9-inch enclosure as the speaker vents to both the louvers and the round holes into the rotor cavity at the same time. Perhaps this was a time align feature to mix some of the separate reverb signal into the Doppler effect of the treble rotor's physical spin, "fanning" the reverb beam with the rotor's rotation. The reverb amount can be adjusted by a control on the reverb amp itself, or remotely from the organ by a special halfmoon switch and dedicated cable that has 3 select settings, "off/medium/on" with actual reverb amount settings preset to taste at the reverb amp in the RV with a variable potentiometer.

===Model 142===
<!-- Faragher p 110-->

Identical to Model 145 but with the Model 122 amplifier. Essentially a short Leslie 122

===Model 145===
<!-- Faragher p 111-->

Same technical specifications as Leslie 147 but in a shorter cabinet.

===Model 147===
<!-- Faragher p 111-->

⚫ The Model 147 has the same cabinet, speaker, and mechanical components as the Model 122; however, the amplifier input and motor speed control circuits are different. This is primarily because this series was designed to be "universal," which means it could be connected to other organ brands. The signal input is "single-ended," allowing a simpler connection to organs, that have a built-in speaker system, such as the Hammond A100 or a Wurlitzer. The Model 122 input is a differential "double-ended," or "balanced line," design that provides for cancellation of any spurious noise that may be present. Also, the motor speed switching uses a separate 120 volts ] signal, rather than the ] voltage control of the Model 122. In operation, the noticeable differences between the Model 122 and the Model 147 are the Model 122's lower susceptibility to induced noise, and a delay between operation of the speed control and the actual change in speed. Just like with the 122 and 142, the Leslie Model 145 is identical to Model 147, except that it is housed in a 33-inch-tall cabinet, and thus slightly easier to transport than the 41-inch-tall Model 147.

===Model 330===

Model 330 was issued in 1975. The concept is the same as model 760 - a classic horn/rotor speaker in a portable tolex-covered cabinet. The cabinet size is 37 inches with casters, i.e. roughly the same size as the older model 145. Technically this speaker is slightly different than the 760. The amplifier is a single channel 60 watts with a passive cross-over like in the old tube Leslies. This makes the 330 a popular Leslie to convert to tube amplification. Another noticeable difference is, that the input socket is the modern 11pin type, making it necessary for the speaker to have a separate power cord (see below). The 11-pin socket allows modern Hammond clonewheels – such as the XB-2, XK-2 and XK-3 – to link to and operate the 330 with ease.


===Pro-Line series=== ===Pro-Line series===
<!-- pro lines generally p 116, this model p 121--> <!-- pro lines generally p 116, this model p 121-->
By the late 1960s, gigging musicians were finding that older Leslies like the 122 were not loud enough to be heard on stage, which led to the introduction of the "Pro Line" series. These Leslies had louder solid-state power amplifiers, and were mounted on casters for ease of portability. The first models to be manufactured were the 900 and 910,{{sfn|Vail|2002|p=141}} which contained a 100 watt, three-channel power amplifier. Both could be split into two sections.{{sfn|Faragher|2011|p=121}} The most popular version of the Pro-Line series was the 760. It was a smaller version of the 900 and 910, and contained a 40 watt treble and 50 watt bass amplifier.{{sfn|Faragher|p=117,121}} By the late 1960s, gigging musicians were finding that older Leslies like the 122 were not loud enough to be heard on stage, which led to the introduction of the "Pro Line" series. These Leslies had louder solid-state power amplifiers, and were mounted on casters for ease of portability. The first models to be manufactured were the 900 and 910,{{sfn|Vail|2002|p=141}} which contained a 100 watt, three-channel power amplifier. Both could be split into two sections.{{sfn|Faragher|2011|p=121}} The most popular version of the Pro-Line series was the 760. It was a smaller version of the 900 and 910, and contained a 40 watt treble and 50 watt bass amplifier.{{sfn|Faragher|p=117,121}} A smaller, more portable version of the 760 is the 825. It is a solid-state cabinet like the 760, and it connects to the organ with a 9-pin connector as well. However, it only has a 70-watt amplifier and only a single rotor with a full-range 12-inch speaker.{{cn}}


The Pro-Line series proved to be durable and fault-tolerant, with many models lasting for years.{{sfn|Faragher|2011|p=117}} However, because they used solid-state amplifiers, they are not as highly regarded as the older tube-based Leslies, because they lack the characteristic sound when the amp is overdriven.{{sfn|Faragher|2011|p=119}} The Pro-Line series proved to be durable and fault-tolerant, with many models lasting for years.{{sfn|Faragher|2011|p=117}} However, because they used solid-state amplifiers, they are not as highly regarded as the older tube-based Leslies, because they lack the characteristic sound when the amp is overdriven.{{sfn|Faragher|2011|p=119}}


⚫ The smallest Leslie is the Leslie Model 16, made in 1970. It has a ]-like speaker body and a rotating foam dispersion block. It was built for rough club touring, was portable, and had "Leslie" written on the front. It was also released later as Fender/CBS's "Vibratone".{{cn}}
<!-One of the favorite models for gigging Hammond owners, the Model 760 with 90 watts of power is still a popular choice for organs with 9-pin connectors, despite being a "solid-state" model. It has a black Tolex cabinet and is easy to carry, thanks to integrated handles. These features make it rather roadworthy. Model 770 is technically the same as 760, only with more sophisticated wooden cabinet. Model 760 was primarily used with spinet Hammonds, such as M100 or L100 -series. Leslie 760 has a rotating treble horn as well as a rotating bass drum.-->

===Model 825===
A smaller, more portable version of the 760 is the 825. It is a solid-state cabinet like the 760, and it connects to the organ with a 9-pin connector as well. However, it only has a 70-watt amplifier and only a single rotor with a full-range 12-inch speaker.

<!-- 900 p 121, 100 watt three channels, three solid-state amps for bass, treble and reverb, two sections-->


==Sound generation== ==Sound generation==

Revision as of 08:43, 10 September 2013

A Leslie speaker in a clear plastic cabinet

The Leslie speaker is a specially constructed amplifier/loudspeaker used to create special audio effects using the Doppler effect by rotating the speakers or a sound-directing duct. Named after its inventor, Donald Leslie, it is particularly associated with the Hammond organ but is used with a variety of instruments as well as vocals. The Hammond/Leslie combination has become an element in many genres of music. The Leslie Speaker and the Hammond Organ brands are currently owned by Suzuki Musical Instrument Corporation.

Features

Controls

Leslie Sound A chord is played on the organ while the Leslie speaker is switched from "chorale" to "tremolo" and back again
Problems playing this file? See media help.
This half-moon switch, mounted on a Hammond organ, allows the speaker to be switched between "chorale" and "tremolo" easily

The only common control to all Leslie speakers is a dial controlling the master volume. This is normally set up once and then left, since the volume is designed to be controlled by the organ's expression pedal. Leslie recommended playing the organ at full volume with all stops or drawbars pulled out and adjusting the volume just before distortion occurs. However, the distorted sound of an overdriven vacuum tube amplifier can be a desirable sound, to the extent that modern Leslie simulators have an explicit "overdrive" setting.

Control of a Leslie speaker is normally catered for by an external two way switch, between two settings marked "chorale" and "tremolo". The switch is mounted onto the controlling instrument, so the player can easily switch settings. Some earlier models were limited to "off" and "tremolo", and some later models had all three settings. The switch can be used while notes are being played, and the sound of changing between the two settings is part of the characteristic sound.

Interface

A 9 pin amphenol connector socket on a console connector

Unlike most popular music amplifiers, that use jack plugs to connect to instruments, Leslie speakers use an amphenol connector to interface directly to an organ via a console connector. The type and design of the connector depends on the organ and model of Leslie speaker.

Older models that used tube power amps used a variety of 6-pin connectors, while later models used a 9-pin connector. In all cases, for a single organ - Leslie configuration, the mains power, audio and control signals are all carried on the connector, and the design of the pin layouts varies between organs and speakers. Care must be taken when attempting to service them, as an incorrectly or poorly wired cable can cause permanent damage to the organ and / or speaker, or result in electrocution. It is also possible to connect multiple Leslie speakers to a single organ, by using a power relay that provides the necessary AC current.

A separate device known as the Combo Preamp is necessary to connect a vintage Leslie to another instrument such as a guitar. The Combo Preamp combines a separate AC input and line level input onto a single amphenol connector, and provide a footswitch to select between the speeds of the Leslie. Modern products such as the Trek II UC-1A allow any instrument with a phone jack connection to use a variety of Leslie speakers.

Modern Leslie speakers have an 11-pin interface that is safer to service, as the mains power is carried separately using a standard IEC mains connector. The Hammond-Suzuki Leslie 2101 also includes line in and line out jacks, so a combo preamp is no longer required. Its settings can also be controlled via MIDI.

History

Leslie originally bought a Hammond organ in 1937, in the hope it would be a suitable substitute for a pipe organ, but was disappointed with the sound in his home compared to the large showroom where he had originally heard it. Consequently, he attempted to design a speaker to overcome this. He initially tried making a cabinet similar to Hammond's own, but then surmised the variation in sound a pipe organ produced because of the different location of each pipe meant he should try making a moving speaker. He tried various combinations of speakers and speeds and discovered a single one running at what's now known as the "tremolo" speed worked best. After further experimentation, he decided that splitting the signal into a rotating drum and horn helped accentuate bass and treble frequencies.

By 1940, Leslie decided his prototype was ready to market, and went to the Hammond Organ Company to demonstrate it. Laurens Hammond, however, was not impressed with Leslie's attempt to better his own organ design, and declined to market it. The company went as far as changing the speaker interface on their organs to be "Leslie-proof", though Leslie would quickly managed to work around this. Leslie did work for the local electric company, in a contract with Hammond, to replace the old fifty-cycle rotor tone generators with the new sixty-cycle units, in customers' homes. The speaker was first manufactured in 1941 and initially went by a variety of names, including "Vibratone", "Brittain Speakers", "Hollywood Speakers" and "Crawford Speakers", before returning to the name "Leslie Vibratone" in 1947. To counteract Hammond's slogan "Music's Most Glorious Voice", Leslie added a similar slogan, "Pipe Voice of the Electric Organ" to the plates.

Leslie manufactured the speaker to work with a variety of different organs aside from Hammond, including Wurlitzer, Conn, Thomas and Baldwin. He had never particularly like Hammond organs, once remarking "I hate those damn things".

By 1965, Leslie had become tired of the music instrument business. Hhe sold the company to CBS, which had also acquired Fender. In 1980, the Hammond Corporation finally bought Electro Music and the Leslie name from CBS. It was subsequently acquired by Suzuki in 1992, who continue to manufacture the speaker.

Leslie never advertised his speakers. After demonstrating a prototype (a rotating baffle in a hole in a small closet with a big speaker in the closet near Leslie's home organ) with Bob Mitchell, an organist with radio station KFI in Los Angeles, a contract was made to install another prototype in the station's studios, where Mitchell would be the only organist authorized to use it. Mitchell was so impressed, that he even tried to patent the speaker, but discovered that he couldn't. Soon afterwards, Mitchell became an organist with the Mutual Broadcasting System, and played a Hammond with the Leslie on its shows, thus gaining national exposure.

Models

Single speed models

The initial models of Leslie speakers did not have the "chorale" setting. The control switch was simply a choice between "off" and "tremolo". The first model of Leslie produced was the 30A. It emulated Hammond's DXR-20 tone cabinet, which used moving drums but only produced amplitude modulation, not frequency modulation. It contained a 15 inches (380 mm) drum and the power amplifier was housed in the top of the unit, to allow easy repair.. This was superseded between 1947 and 1949 by the 31H, also known as the "Tall Boy". It was similar in appearance to the 30A, but contained additional louvres along the top of the cabinet. Also, reflectors were placed on the end of the horn, to allow the treble signal to exit the unit through the sides, rather than on the top.

The next models to be produced were the 21H and the 22H, which had a cabinet in a similar styling to the better known 122, with the same dimensions and louvres. They were powered by a 40 watt tube amplifier.

Dual speed models

The 122 is the most popular Leslie. It was specifically designed for the Hammond organ and is the model most commonly identified with it. It is 41 inches (1,000 mm) high, contains two motors for "chorale" and "tremolo" and a 40 watt tube amplifier. The 122 is the most adaptable to being recorded, as it contains a balanced signal which eliminates mains hum and other noise, allowing for a quiet operation overall. The 122RV was the same model, but with an additional reverb amplifier, which fed through to a separate static speaker. A slightly smaller version, the 33 inches (840 mm) 142 was available.{{cn} Hammond-Suzuki currently manufacture the 122A, a straight reissue of the 122, and the 122XB, which contains a modern 11-pin adapter, an IECC mains adaptor, line-in, and a jack socket for a footswitch to control the speed. This eliminates the need for a combo preamp.

The 147 is the "universal" version of the 122, designed for any organs, and has a different amplifier input and motor speed control. The signal input is unbalanced, allowing a simpler connection to organs, that have a built-in speaker system, such as the Hammond A100, or a Wurlitzer. The motor speed switching uses a separate AC signal, rather than the DC voltage control of the 122. In operation, the noticeable differences between the 122 and the 147 are the 122's lower susceptibility to induced noise, and a delay between operation of the speed control and the actual change in speed. As with the 122 and 142, the 145 is identical to the 147, except that it is housed in a 33 inches (840 mm) cabinet, and thus slightly easier to move.

Pro-Line series

By the late 1960s, gigging musicians were finding that older Leslies like the 122 were not loud enough to be heard on stage, which led to the introduction of the "Pro Line" series. These Leslies had louder solid-state power amplifiers, and were mounted on casters for ease of portability. The first models to be manufactured were the 900 and 910, which contained a 100 watt, three-channel power amplifier. Both could be split into two sections. The most popular version of the Pro-Line series was the 760. It was a smaller version of the 900 and 910, and contained a 40 watt treble and 50 watt bass amplifier. A smaller, more portable version of the 760 is the 825. It is a solid-state cabinet like the 760, and it connects to the organ with a 9-pin connector as well. However, it only has a 70-watt amplifier and only a single rotor with a full-range 12-inch speaker.

The Pro-Line series proved to be durable and fault-tolerant, with many models lasting for years. However, because they used solid-state amplifiers, they are not as highly regarded as the older tube-based Leslies, because they lack the characteristic sound when the amp is overdriven.

The smallest Leslie is the Leslie Model 16, made in 1970. It has a Fender-like speaker body and a rotating foam dispersion block. It was built for rough club touring, was portable, and had "Leslie" written on the front. It was also released later as Fender/CBS's "Vibratone".

Sound generation

A diagram showing the key components of a Leslie speaker

The Leslie is specifically designed, via reproduction of the Doppler effect, to alter or modify sound. As the sound source is rotated around a specific pivot point, it produces tremolo (the modulation of amplitude) and a variation in pitch. This produces a sequence of frequency modulated sidebands.

The classic design consists of two driver units: a stationary treble unit with spinning horns and a stationary woofer with spinning rotor, with a crossover dividing frequencies between the two. The key feature is that both the horns (in reality one working horn with a dummy to counterbalance it) and a sound baffle or scoop for the bass are electromechanically rotated to create Doppler effect–based vibrato, tremolo and chorus effects. The rotating elements can be stopped, switched between slow (chorale) and fast (tremolo), or transitioned between the two settings. To stop a Leslie's rotor, a special brake circuit was added to the Leslie motor controls, that incorporated an electronic relay by producing a half-wave of direct current.

Much of the Leslie's unique tone is due to the fact that the system is at least partially enclosed, whereby linear louvres along the sides and front of the unit can vent the sound from within the box after the sound has bounced around inside, mellowing it. The tone is also affected by the wood used. Tone differences, due to cost cutting using particle board for speaker and rotor shelves instead of the previous plywood, are evident in the Leslie's sound. The thinner ply of the top of the cabinet adds a certain resonance as well. Like an acoustic instrument, a Leslie's tone is uniquely defined by its cabinet design and construction, the amp and speakers used, and the motors — not merely by the spinning of rotors.

Miking

Because a Leslie speaker modifies as well as amplifies the sound, the output cannot simply be connected to a larger PA system if the volume onstage from the built-in amplifier is too quiet. This is particularly problematic for an older Leslie like the 122 or 147, which only has a 40 watt RMS power amplifier. Instead, microphones are placed around the Leslie, and the output from these is connected to the PA. A typical setup for onstage miking is to use two microphones placed on opposite sides of the horn and a single microphone on the drum.

Miking a Leslie is also important in a recording studio, as the choice and positioning of microphones determines the overall recorded sound. A popular recommendation is two Shure SM57s on the horn and a Sennheiser MD421 on the drum. Recording Magazine's Dave Martin suggests a similar setup, but using an Electro-Voice RM20 on the drum instead. Keith Emerson recorded his Leslie using a single mic each on the horn and the drum, but with the covers removed.

Clones and simulations

The Univox Uni-Vibe was an early attempt to emulate the sound of a Leslie speaker. This model was once used by Jimi Hendrix.

The classic Leslie is still made and sold to this day, though similar effects can now be obtained via analogue electronic devices and digital emulation. Chorus and phase shifter devices can give an approximation of the sounds produced by a Leslie speaker. The Univox Uni-Vibe, a four-stage phase shifter, was specifically marketed as low-cost Leslie substitutes for guitarists, and used a foot-operated fast/slow switch similar to the Combo Pre-amp. The pedal was popular with guitarists, and notable users included Jimi Hendrix, David Gilmour and Robin Trower, but vintage units tend not to be in good condition now due to the degradation of capacitors in the unit. Although the sound of a Leslie speaker heard in person is quite distinct, digital clones have become increasingly better at emulating it.

Most modern keyboards that emulate the Hammond organ also include a Leslie simulator, including Hammond's own XK-3c and the Nord Electro. However, there is still a market for standalone simulators. The Neo Ventilator has been particularly praised for its accuracy in emulating the sound of a Leslie. Sound on Sound's Mark Ashfield described it as "quite simply the best Leslie speaker simulator to date", while Keyboard Magazine claimed to be "blown away by how authentic the Ventilator sounds". In 2013, Hammond-Suzuki started manufacturing their own Leslie simulator in a stomp box.

See also

References

  1. "Leslie 122 / 122RV service manual". Leslie: 3. Retrieved 9 September 2013. {{cite journal}}: Cite journal requires |journal= (help)
  2. "Hammond USA Announces First-ever Digital Leslie Pedal". Hammond-Suzuki USA. January 22 2013. Retrieved 9 September 2013. {{cite web}}: Check date values in: |date= (help)
  3. Faragher 2011, p. 102.
  4. ^ Faragher 2011, p. 103.
  5. ^ "Leslie 825 Service Manual". Electro Music: 4. Retrieved 9 September 2013. {{cite journal}}: Cite journal requires |journal= (help)
  6. Olsen, Harvey (2006). "Uncle Harvey's Guide to Leslie Pinouts". Retrieved 22 June 2006.
  7. "Leslie 760 User Service Manual". Electro Music: 6. Retrieved 9 September 2013. {{cite journal}}: Cite journal requires |journal= (help)
  8. Vail 2002, p. 150.
  9. Faragher 2011, p. 124.
  10. "UC-1A Combo Pre Amp". Retrieved 25 Jun 2012.
  11. Robjohns, Hugh (July 2005). "Hammond XK3/XLK3 & Leslie 2121/2101". Sound on Sound. Retrieved 9 September 2013. {{cite journal}}: Cite journal requires |journal= (help)
  12. Vail 2002, p. 129-130.
  13. ^ Vail 2002, p. 130.
  14. ^ Oliver, Myrna (7 September 2004). "Donald Leslie, 93; His Namesake Speaker Influenced Music". Los Angeles Times. Retrieved 9 September 2013.
  15. ^ Faragher 2011, p. 108.
  16. Faragher 2011, p. 126.
  17. "Electro Music Purchased by Columbia Distribution". Billboard. 77 (38). Cincinnati, Ohio: Billboard Publishing: p. 6. September 18, 1965. {{cite journal}}: |page= has extra text (help)
  18. Faragher 2011, p. 100.
  19. Vail 2002, p. 131.
  20. Faragher 2011, p. 14.
  21. Faragher 2011, p. 106-107.
  22. Faragher 2011, p. 107-108.
  23. Faragher 2011, p. 108-109.
  24. Faragher 2011, p. 109.
  25. Faragher 2011, p. 110.
  26. "122XB". Hammond-Suzuki USA. Retrieved 10 September 2013.
  27. Faragher 2011, p. 111.
  28. Vail 2002, p. 141.
  29. Faragher 2011, p. 121.
  30. Faragher, p. 117,121. sfn error: no target: CITEREFFaragher (help)
  31. Faragher 2011, p. 117.
  32. Faragher 2011, p. 119.
  33. Brice, Richard (2001). Music Engineering. Newnes. p. 427. ISBN 9780750650403.
  34. Faragher 2011, p. 101.
  35. ^ Clifford A. Henricksen (April 1981). "UNEARTHING THE MYSTERIES OF THE LESLIE CABINET". Recording Engineer/Producer magazine.
  36. Faragher 2011, p. 104.
  37. Vail 2002, p. 155.
  38. Evans, Bill. Live Sound Fundamentals. Cengage Learning. p. 20. ISBN 9781435456037.
  39. Vail 2002, p. 152.
  40. White, Paul; Robjohns, Hugh (April 2008). "How do you record a Leslie speaker?". Sound on Sound. Retrieved 9 September 2013. {{cite journal}}: Cite journal requires |journal= (help)
  41. Martin, Dave. "Miking the Hammond and Leslie". Recording Magazine. Retrieved 9 September 2013. {{cite journal}}: Cite journal requires |journal= (help)
  42. Vail 2002, p. 153.
  43. Gallagher, Mitch. Guitar Tone:: Pursuing the Ultimate Guitar Sound. Cengage Learning. p. 264. ISBN 9781435456211.
  44. ^ "Neo Instruments Ventilator Best Rotary Stompbox Yet". Keyboard Magazine. 1 May 2010. Retrieved 9 September 2013.
  45. Ashfield, Mark (December 2011). "Neo Instruments Ventilator". Sound on Sound. Retrieved 9 September 2013. {{cite journal}}: Cite journal requires |journal= (help)
  46. "Leslie (product range)". Hammond USA. Retrieved 1 August 2013.
Books
  • Vail, Mark (2002). The Hammond Organ - Beauty in The B. Backbeat Books. pp. 129–131. ISBN 0-87930-705-6. {{cite book}}: Invalid |ref=harv (help)
  • Faragher, Scott (2011). The Hammond Organ: An introduction to the instrument and the players who made it famous. Hal Leonard Corporation. ISBN 978-1-4584-0287-5. {{cite book}}: Invalid |ref=harv (help)

External links

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