Skinny Posted November 3, 2011 Share Posted November 3, 2011 You guys doing this experiment need to make sure the Guit/Keys switch is set to Keys or the amp simulation is bypassed. It was on keys for me. Me too. Stuff and things. Link to comment Share on other sites More sharing options...
keyoctave Posted November 3, 2011 Share Posted November 3, 2011 ......Coincidentally, I tried the C1-> Vent -> Motion Sound Pro 145 today with the Vent brake on to see how the overdrive worked with the MS145 and it sounded fabulous. Plus the vent's distance, overdrive and balance knobs all continued to allow further tweaking even with the Vent's brake on.... Could you elaborate a little more on this? (like what kind of tweaks are in the sound with the brake on and how does it change the character of the 145's sound compaired to not using the vent). I'm not in front of my rig right now but if I recall correctly, adjusting the Vent's distance sounds as described - like adjusting the distance of the mics or depth of the Leslie, even when using the Motion Sound's leslie (and the Vent brake on). Adjusting the balance seems to adjust the brightness, again even with the Vent brake on. I had not expected that balance and distance would do anything with the brake on but was pleasantly surprised. Adjusting the overdrive is as expected (adjusts overdrive), but better than the MS145 pre-amp provides on its own. As a follow-up, how do you run the Vent's Key/Git switch when using the MS? How does it change the sound of the 145 with the Key engaged? Kurzweil PC3, Hammond SK-1 + Ventilator, Korg Triton. 2 JBL Eon 510's. Link to comment Share on other sites More sharing options...
keyoctave Posted November 3, 2011 Share Posted November 3, 2011 (and the raw organ tone was not good), hence why the two units clash. Just for the sake of clarity... I was talking about having the Leslie sim ON, but the rotors stopped, and sending that through the Vent. Thus, the "stopped Leslie through a Leslie" tone. This is different from having the Leslie sim OFF (raw organ tone) and sending that through the Vent. Either way, I didn't like the combo. Sold the Vent and now I'm using VB3, controlled by the E2. I was too. Either way did not sound good to me. The leslie model (leslie on, stopped) clashed with the vent's model and the raw tone (leslie off) had no balls. Kurzweil PC3, Hammond SK-1 + Ventilator, Korg Triton. 2 JBL Eon 510's. Link to comment Share on other sites More sharing options...
Dglavko Posted November 3, 2011 Share Posted November 3, 2011 Ok I had another go at this. The C1->Vent-> MS145 can sound really bad if the level on the C1 is too high. Turn it back some though to ~70%, and don't push the MS too hard (it is after solid state amp, 1 tube pre-amp) and it sounds really good. I don't really hear any of the warble (Leslie within a Leslie). Perhaps the MS is sufficiently "muddy" (IIRC Leslie's are best not full frequency response) to hide the warble you were hearing through another amp? Or perhaps my over 40 ears are shot... Link to comment Share on other sites More sharing options...
Skinny Posted November 4, 2011 Share Posted November 4, 2011 I don't really hear any of the warble (Leslie within a Leslie). Perhaps the MS is sufficiently "muddy" (IIRC Leslie's are best not full frequency response) to hide the warble you were hearing through another amp? I remember experimenting with my E2/Vent setup a while ago, and setting the E2 to "stop" and running that through the Vent. Not good. It was like sending a Leslie through a Leslie. The tone just seemed wrong. Granted, the sound from the E2 wasn't "rotating", but a signal through a Leslie on brake is still being colored and shaped by the horn and rotor, not just the amp. It was on stop, there was no "warble"... It was the sound of a stopped Leslie through a Leslie Just for the sake of clarity... I was talking about having the Leslie sim ON, but the rotors stopped, and sending that through the Vent. Thus, the "stopped Leslie through a Leslie" tone. Again, there was no warble, or "rotary through rotary". What I mean is that the tone of the stopped sim through another Leslie sim was unpleasant (in my case). The tone, not the end rotary effect. There would be no "warble" with your setup, either, because you're only applying a rotary effect once. So was I. And I'm not saying that your end tone wasn't good; but my experiment, which in theory was the same as yours, sounded bad. A braked Leslie through a rotating Leslie, to me, is no good. In fact, the only reason I ever experimented with that in the first place was because it was mentioned some time last year when people first started running their E2's through the Vent, and being less than satisfied. I didn't think it would work, but I gave it a shot. Now, let's get this thread back on topic... Stuff and things. Link to comment Share on other sites More sharing options...
JeffLearman Posted November 4, 2011 Share Posted November 4, 2011 Wow, that seems like a big omission. Ah well. Thanks for the info. Strongly disagree. Care to elaborate? I find the master volume control on any keyboard very useful. I would think the reason would be obvious: to match the overall volume of the sound to the other keyboards in the rig, for a particular song or a moment in a song. Yes, I can also do this on my mixer, but it's not in as handy a location. It's great to be able to quickly reach a knob. On NIB4D, other than the drawbars, the controls I used most were drive and volume. With NE2, I often use the master volume or patch volume during play. When using a Vent, you lose a master volume control for whatever keyboard you're using. This forces you to put the mixer where you can quickly reach it. I do realize that with a real Leslie, you have no master volume control. That's just a fact of life, not a desirable feature. Link to comment Share on other sites More sharing options...
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