From fingerz@woh.rr.com Fri Feb 08 18:51:26 2013
Subject:RE: OT: Leslie louvers vs. slots

Brooks And Dunn have several tracks that have KILLER atmospheric B3 parts.
"Red Dirt Road" and "Indian Summer" are two that I really enjoy.The video
you have up has Reese Winans on B3 from Double Trouble.I think he may have
played on a couple of albums with them.

Brian In Ohio



From: CloneWheel@yahoogroups.com [mailto:CloneWheel@yahoogroups.com] On
Behalf Of Goff
Sent: Friday, February 08, 2013 7:03 PM
To: CloneWheel@yahoogroups.com
Subject: Re: [CWSG] OT: Leslie louvers vs. slots





If that suits your taste, why not. But because the rear is usually mic'd
doesn't mean the original louvers won't produce a different sound. Not all
recordings are the mics stuffed into the rotor cavities. There are distance
mic'd tracks to get the sound of the entire Leslie working its magic. All
the pro concerts I've worked on mic the rear but face the louvers to the
player. And the riders are always for the classic 122 or 147, never a solid
state model. You could try mic'ing the louvers and do an A/B between the
rear and the louvers. Perhaps an ear can't detect a difference but a mic
can. Then let someone else with different ears listen to the comparison
along with you. Real louvers have a subdued tone compared to no louvers out
the back. Then there is still the issue that the sound of both the louvers
and the rear are mixing together. You'll notice the rear covers are louvered
only on the bottom but a solid piece up top with a length of sound absorbent
material on the inside of the top rear cover. I've heard of some covering
the louvers and allowing the sound only out the rear. I would imagine that
if taking the extra time to route out louvers were considered a waste, the
factory would've given up on doing them. There are those that can tell
there's a difference and know how to use the louvers to get a tone. In fact
some go to an extreme and knock on the louvers checking for a certain
resonance in choosing a cabinet. The sound of the cabinet also makes for
tone so using the whole system while playing is extremely useful rather than
blasting on 10 and just listening to rotors. I would say that the evolution
of Leslie for rock stage use back in the days when PA's were a stack of A7's
was all about how loud the Leslie could get on stage but that's all changed
now and subtlety is now possible with superior mains and monitor systems.
A good example of expert subtle use is the Hammond track on Believe by
Brooks and Dunn.

https://www.youtube.com/watch?v=Z9-FQMxO_-Q

G/

-----Original Message-----
From: j a hammond321@yahoo.com >
To: clonewheel clonewheel@yahoogroups.com
>
Sent: Sat, Feb 9, 2013 6:10 am
Subject: [CWSG] OT: Leslie louvers vs. slots

Going back a bit to an earlier thread there was some discussion about the
sound emanating through louvered vents on a Leslie cabinet (a 122 for
example) vs. rectangular slots (a 760 or Frankenleslie for example). I
thought about that a bit and realized that almost every Leslie I've ever
played was turned around backwards with the rear top panel and lower louver
panel removed so it would be louder and could be mic'd if needed.

I never noticed any difference in sound between that configuration and
listening to one in its factory state.

I don't think it really makes much difference one way or the other, and
probably wouldn't be worth the extra trouble trying to get the louvers
exactly right.

[Non-text portions of this message have been removed]

[Non-text portions of this message have been removed]