This month, ScopeRise takes a look at the Scope B2003 organ, an emulation of that famous classic from the 60's and 70's complete with the Leslie Rotary horns.  

Made famous during the prog rock era by the likes of Keith Emerson, Jimmy Smith and Jon Lord the B-3 / Leslie combination still has no rival today (only emulations).  

Following is an explanation by keyboardist Jimmy V. to tell us of his experience with the Scope B2003 and how he has customized it into his rig for live use, including a screen shot of his Scope project :


The B-3 is a realtime instrument that is extremely difficult to emulate.  One must have total control in realtime without zippers, of the various sound elements, and knowledge of it's working parts.

MIDI CC Controls
For control I use 5 x of Mehdis' CC2x2 MIDI devices.  On a real B-3 an entire hand is used to move the drawbars, and each drawbar has different starting points and targets.  CC2x2's handle this, and better yet, I can have as many controls as I want all attached to an expression pedal.  By using Lag times I can push the expression pedal in one fast move and the CC2x2's move to their destinations at the exact time I want.  Just pull the pedal back in the same quick manner, and the settings go back to their original starting points.  This is how I have control over the dynamics exactly the way I want.

Authentic Overdiven Tube Pre Amp
On a real Hammond, when your increase the volume you are overdriving the pre amp so more volume also adds the extra overdrive.  Sadly the virtual B-3's don't address this, and most developers are also unaware of this or we would have seen a feature providing this.  No biggie using Scope.  I simply make the extra overdrive effect using Modular, 2 x Pulsifiers and 2 x 12AX7 Tube Modules.  Pulling back on the expression pedal gives me collapsed drawbars and less overdrive. Pushing forward on the expression swells the drawbars and adds extra overdrive.

Crossover Frequency Of The Rotary Cabinet
I use a chosen Crossover point so the Low Frequencies do not get Reverb.  This is how it's done with the Leslie 122/147's Spring Reverb.  So the horn gets any frequencies above the Crossover point with the Spring Reverb, and the lows get the lower Rotary baffle without Reverb.

All other virtual B-3's are pretty weak and generic.  But they do have a picture of the real Hammond usually which can make one feel as though he actually is playing one, but those Dogs Don't Hunt.


JAV July 2010

XITE-1/4LIVE August 2010