emusonacid! legacy

I have 2 different presets one with a hammond B3 sample without the leslie spinning, and a second present with the leslie spinning. I have a B3 sample from the E-mu sample disc which changes from rotating to non-rotating when the modulation wheel is turned. It sounds like 2 different samples in which when the modulation wheel is turned it switches between 2 different samples. Does anyone know how this is done?

Cbridg

Using Cords, set the mod wheel to control Volume. when the wheel is toward you, the spinning sample's volume will need to be set to a negative value.
accordingly, the slow rotor sound will need to go negative as the wheel is advanced. takes some trial and error to get a smooth transition.

A better way to recreate the leslie effect is to set-up panning, fine pitch and chorus to be controlled by either a single LFO - for a generic rotary effect - or two LFOs for a real Leslie with separate top and bottom leslie characteristics. The LFO(s) speeds can be set to increase/decrease in speed by whatever amount you want in a separate cord trggered wither by a controller or a switch. The same controller and switch can also accentuate the amount of panning, fine tuning and chorus appled. Lastly, using a LAG processor will force the speeding up/slowing down of the leslie effect to happens gradually rather than instantaneously, thus giving the real accelration and deceleration of the leslie.

That's interesting, Lordylawks - I'll try that!

Do you have any ideas for the parameter values?

Steve

Ok, I tried a slightly different implementation of this

There are two horns in a leslie, and also a woofer with two ports. So a leslie has four 'voices', a pair with a high pass filter for the top and another pair with a low pass filter for the bottom.

I've been playing with the tops at first, with these settings (which may be revised as I think this through)

Pedal LAG0in 100% to get the lag on the pedal input
LAG0 LFO2Rt 7% for the speed up and slow down
LFO2~ fine pitch 30%, for the doppler shift on the horn for voice A, set to -30% for voice B to make it out of phase
LFO2~ amp pan 100% for the pan position on the horn for voice A, set to -100% for voice B to send it to the other side of the stereo field
LAG0 routed to the fine-pitch chord amount 30% for voice A, set to -30% for voice B so increasing the speed increases the doppler shift

LFO2 rate 0.65, LAG0 7 (look ma, no chorus!)

Given that this uses half the sample RAM of a mod-xfade patch and has a proper transition between slow and fast, then it's already considerably more useful! Probably the lag is more appropriate for the woofer than the horns.

This is a very 'physics' based implementation - I've used 2 voices to model each of the horns and an LFO to simulate the pan and the doppler shift - there may be short cuts... and while I know what I want to do, I'm getting to grips with the intricacies of the modulators and what I'm trying to do might be quite different to what I'm actually doing! But it sounds pretty good!

Thanks, this is fun!

Steve