From tonysounds@yahoo.com Sat Jun 05 06:58:19 2004
Subject:Re: More on the Clone Comparisons

Thats a very interesting idea. A few companies have started toying with this idea in one form or another. Mesa Boogie makes a new bass combo that only has 1x12, or a 1x10(depending on the model). It's a downward radiating driver that's mounted at the bottom of the cabinet. The whole amplifier is not much bigger than the old orange Roland cube amps, and aren't that much heavier. What shocks me is how loud and full this little combo is....I don't mean for jazz playing, I mean for ROCK playing: this amp will stand up to a drumkit being hit. Bose of course started offering their new "surround tower" or whatever it is that they call it, which is supposed to give everyone on stage the same aural "view" regardless of their positioning.

Now of course, this isn't quite the same as what you're talking about, although amps have been rear-ported for years. I'd be VERY curious to check out this idea of an amplifier for keyboards, especially where leslie sims are concerned. I think it would be very interesting....and to make it more effective, to have only assignable inputs fed to that rear driver.

T

knutinh wrote:
I have been using leslies for some years and put some thought into
the process.

A Leslie is essentially a omni source at lower frequencies, just
like any closed cabinet loudspeaker. At higher frequencies, it is
probably more like a toroidal pattern (time-averaged). This means
that the "direct to reflected-sound ratio" is probably lower than
most conventional speakers. In other words, the room is more
important in shaping the sound than for conventional speakers.

It also means that in a band setting, all members should hear the
leslie only as a function of distance, not the angle. Moreover,
their frequency response should be more or less the same.

What if a keyboard monitor had an extra hf driver in the back,
playing summed-mono? For typical leslie patches this would better
simulate "time-averaged omni" sensation, and the drummer sitting
behind your amp would hear clearly organ and piano patches instead
of the muffled sound they are used to if no other monitoring is used.

For large, efficient keyboard amps, medium sized horns (one mono in
the back, two up front for stereo) should give loud clean
stereo+mono output above 2kHz at sensitivities of 95-100dB W/m

Coupled to a standard 12-15" PA woofer, the setup should be plenty
loud for any keyboard needs.

For smaller rehearsal/personal monitoring, using 3*6.5" coax drivers
at about 90dB sensitivity, possibly enhanced by a 10" woofer should
do the trick.

regards
K

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