From c_schonberger@yahoo.com Tue Nov 17 01:52:31 2009
Subject:Re: Ordered My Ventilator Today

--- On Tue, 11/17/09, njmm973 wrote:
 
Way back when I had my Farfisa VIP 233 and my Leslie 145, I was always on the switch.  It is truly the transitions between fast/slow that are the magic as you said.

Gene
......................................
 
Agreed 100%. I often switch to fast when I have a rest, so the leslie can speed up completely, then when I come in I switch to slow. This also sounds fantastic on a "high wire/drone" note. Since an upward palm sipe/glissando sounds really fat with the leslie on fast, I do that and once I hold the high note, I go immediately to and switch whenever I feel the change is needed - which is very often in my opinion. Yes, it's the speed change which is the most magical "thing" in a leslie. The change to fast is great to create more intensity, but fast to slow is - in my opinion - out of this world. Whenever I manage to make it happen just when noone else in the band (or the vocalists) is/are "masking" it, it is pure magic which noone ever gets tired of. It's like the Hammond has no weight at these moments, and just floats in air - incredible. I never heard anyone who didn't love these moments. It's a good sign when fellow musicians ask for "more Hammond" in the
monitoring.
 
Even in those parts where the Hammond just plays a background "pad" with long held chords for example in an 888000000 setting and leslie on slow, I provide some short "bursts" of switching on fast and hold it just long enough, then switch back to create the fast-slow ramp. Of course this works best with a real leslie or a top quality sim (what's new: when I can't use a real leslie, I use the Ventilator..... ;-D  ) 
 
Christian
 



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