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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 |
