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tips on processing a (real) leslie live


Gary75

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You know, there is so many pages on servicing a hammond, playing a hammond, but if your like me, and you don't like the in house guy setting your sound, you go down the route of buying your own PA.

 

I'd like to know (and there are many seasoned Hmmond pro's on here) how you process a leslie live. EQ,noise gate,compression,reverb etc. Have you ever came accross sound engineers in a live enviroment who know exactly what a leslie is and how to process it, im struggling!

 

Cheers!

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You have picked, unfortunately, one of the most acoustically complex subjects out there. A leslie's sound is very dependent on the environment. Back in the day Emerson, Lake and Palmer had a soundproof room built under the stage, put the leslie in it and stuck a mic in there. Led Zeppelin supposedly didn't bother with a specially constructed room, they just left the cabinet in the dressing room and hoped no passer-by would talk into the mic.

Obviously, the closer the mics the more motor noise (and need for EQ) and the more pronounced the rotary effect. Two mics on the top half give an interesting effect and one can vary the angle between them. Volumes have been written about this and new leslie sims have this a parameter. My best advice is to get some mics and experiment with placement, distance, and then processing. You'll never be entirely pleased as location will change everything but you'll have a good start short of building your own leslie room. Hope this helps

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My advice is KISS.

 

A couple of Shure SM58s on top, pointed at two corners of the cabinet 90 degrees apart. A large capsule dynamic mic pointed at the bottom like an EV RE-20. You can mount all 3 mics on a single stand with clamps and goosenecks for easy setup.

 

I do not recommend mounting the mics inside the cabinet. Place them as close as possible without inducing excessive wind noise, or getting them inside the cabinet.

 

No monitors near the leslie mics or pointed at them to feed back. You can even mic the back of the cabinet instead of the front if that helps.

 

No reverb to muddy the sound, and no compressor to raise the wind noise level. Use a scrim cloth on your bottom rotor to lessen the wind noise. IMO you should leave the deflectors on the horn, but that's a matter of taste.

Moe

---

 

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No gates, compressors, reverb, no nothing. Maybe lowpass the bottom mic to cut off everything above 800hz, and highpass the top mic likewise.

 

I have experimented with different mics and different placement on my Leslie. I agree that internal mics in the cabinet does not sound very good - too much emphasis on tremolo, not enough on vibrato, and too much wind noise in fast mode.

 

I place my mics on the side of the cabinet furthest from the rotors, this gets the best combination of tremolo/vibrato/chorus effect and is just far enough to eliminate rotor wind noise. A pop filter on the top rotor mic would be a good idea.

 

I put my Leslie in a separate room and experimented with different mics while listening with headphones. You would not believe how different mics sound on the top rotor. I tried EVs, Shures, AKGs, Sennheisers. I settled on an AKG D321 on the top (SM57s were too honky) and a cheap 25-year-old Radio Shack condensor on the bottom.

 

Highly subjective subject, this.

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My advice is KISS.

 

Ok, I'll dress like them, and wear make up, but I can't see how it will process my Leslie?

 

Seriously thanks for the tips guys, i'll look into those mic suggestions. I have rotor cloth on there and the baffles.

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