Combo B3 Tonewheels Organ v1.0.2 - Jiggery

Combo B3 Tonewheels Organ v1.0.2 - Jiggery
Combo B3 Tonewheels Organ v1.0.2
Produced and Designed by Matt Black
© 2014 Jiggery-Pokery Sound
All rights reserved.
“Reason”, “Rack Extension” and associated logos are trademarks of Propellerhead Software AB.
All commercial symbols are protected trade names of their holder and their inclusion within this guide and the associated
Reason Rack Extension product are merely indicative and do not constitute endorsement of this product by any party.
AVAILABLE IN THE
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Combo B3T Organ
1
Combo B3T Organ
Combo B3T finally brings the classic Hammond tonewheel sound into an easy-to-use Reason format, a compact Rack Extension for your Reason studio, with large and clearly laid out controls, the traditional drawbars, scanner and percussion controls, noise effects, and a highly tweakable rotary speaker emulation, providing both dual and single speaker rotary types, or
dual speakers with only a single rotating speaker.
Harmonic groups
Tones with the Hammond organ are built up using additive synthesis. Each drawbar
produces a flute-like tone, which when combined produces more complex sounds,
such as reeds. The drawbars are the most important harmonics.
The 8’ is the fundamental of the note or notes being played, the 16’ is its suboctave
(one octave below), and the remaining white drawbars, the 4’, 2’ and 1’ are, respectively, one, two and three octave roots higher than the fundamental. The other drawbars are subharmonics of the fundamental: 5-1/3’, 2-2/3’ and 1-1/3’ are fifths, the 1-3/5’ is
a third.
To produce a tone, simply pull required drawbar down to a desired level from 1 to 8, or push it fully up for no output.
Notation of drawbar settings is typically in the format: xx xxxx xxx. So the above image would be written as 00 6876 540.
Foldback
Typically on the Hammond organs the 16’ bottom octave and the upper harmonics top octave feature “foldback”, where
a lower or higher octave, or part of an octave, is repeated due to a shortage of available tonewheels compared to number
of notes. Due to this foldback, C6, for example, is actually the same pitch on three drawbars: 4’ has no foldback, 2’ has a
foldback from G5 to C6 of notes G4 to G5, while the 1’ has a two foldbacks, G3 to F#4 is repeated from G4 to F#5, and G3
to C4 is repeated again from G5 to C6!
On the lowest octave foldback on the lowest octave of the 16’ of the octave above means that the 16’ and 8’ would be
playing the same note. Effectively you’d get 8’ + 8’. This is not ideal here, as the level would drop significantly due to phase
issues.
The B3 could, however, be modified so that it did play the bottom octave on the 16’ at the expense of the bottom octave of
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Combo B3T Organ
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the pedal’s 16’ drawbar. So for B3T we have used this modified set up, so there is no foldback on the bottom octave, giving
you a good, solid low end. The upper drawbars do maintain the upper foldback.
Normal playing range is C1 to C6, however we’ve allowed for an extra octave above and below, so C0 to C7 is the available
range. On C0 to B1 this effectively gives you a superlow and heartstopping 32’, so be gentle: you’ll likely need a subwoofer
to really hear it!
Presets
B3T provides ten internal presets using the stepped buttons Preset Selector. Each preset
has its own drawbar settings that can be programmed and recalled via mouse selection
or sequencer automation. You can also link the selector to a Remote™ button to rotate
through them in preset order. If linking the drawbars themselves to a controller via Remote™ we recommend only using the drawbars to change the levels, as your controller
may change the value of all the presets, not only those of the preset selected. So scroll
through presets, or adjust the drawbars via Remote™, don’t use both.
By default, Preset 1 is “full on”, 88 8888 888, while 2–8 are a selection of the 11 presets available via the B3 Standard Upper
Manual. Preset 9 is the “User” preset and set to 00 0000 000, and Preset 10 is Standard Upper B key preset, also known as a
Classic Jazz or “Jimmy Smith” setting, 88 8000 000.
Vibrato/Chorus Scanner
The vibrato and chorus effect is an off/on toggle plus a rotary dial with six settings: V1,
C1, V2, C2, V3, C3. Position V1, V2 and V3 are increasing levels
of vibrato, while the C1, C2 and C3 are those the same increasing
vibrato levels mixed with a non-vibrato copy of the output, creating the chorus effect.
By default the vibrato rate is the regulation 7 Hz. You can if you
wish increase or decrease the Vibrato Rate, change the Shape from
triangle to sine or square, and also adjust the mix level of the Chorus output using the first three controls in the Advanced section on the back panel.
Noise
Typically, Hammond organs produced a click when engaging and disengaging a key.
Set the level as desired with the Key Click control. The Leakage knob sets the level of
the crosstalk tone that occurs between the tonewheels, regardless of whether they are
selected or not.
Reverb
You can toggle between a rich stereo Hall Reverb, or the classic mono Farfisa F/AR Spring
reverb from our Combo Compact Rack Extension. Set the wet amount of the Reverb via
the Off/Long rotary controller. The decay time of the Hall can also be set via the back panel
Advanced control labelled Hall Size.
Note that the spring reverb is placed before the Rotary/Amp effects section in the effects chain, while the Hall
reverb is placed after it, before the main outputs.
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Combo B3T Organ
3
Volume/Expression
Set the global level with the Volume control. The default is -10dB
All included patches are set relative to a maximum peak level of approximately -2dB at 88 8888 888
with full amp drive, C3 and Normal Percussion on a C3 root major chord. This means that when patch
browsing, the level of all the patches are correct relative to all other patches. Thus a setting of 00 0234
000 with all other parameters being equal is a lot quieter than 88 1234 000, and not artificially boosted
just to reach the standard -12dB Reason patch target. A maximum default of -2dB might seem excessively loud, but in practice a default relative maximum level of -12dB was generally far too quiet when
not using extreme settings.
You can also enable swell control using your expression pedal; flick the Expression Pedal switch from Off
to On. The range of the swell does not go all the way down to silence, which is normal behaviour.
If using the expression pedal, ensure that you record the automation for it, or else when you reopen
your song or in some other miscellaneous circumstances you might find that it defaults to a minimum level. For this reason,
Expression Pedal defaults to off, and is turned off for all included patches.
Octave
This is a three mode fader switch. Mouse drag up to transpose the input one octave up, select the middle position for no transpose, or drag down to transpose an octave down. This function in particulary
useful to quickly adjust the octave position of manuals in dual manual setups within (or even without!) a
Combinator.
Percussion
The B3T percussion console is comprised of the standard four controls,
plus an extra useful function.
Turn the Percussion Off or On, select soft or normal Volume, fast or slow
Decay, and second or third Harmonic. Yes, the on/off toggle is reversed
from the other off/on toggles else just like the real thing does. There
seems to be no apparent reason for this, but does ensure that you can
select the classic “Four Up” setting! Additionally, we have the Percussion Cancel 1’ option. With the percussion console
enabled the B3 overrides the 1’ tonewheel, i.e., percussion and a 1’ drawbar are not actually available at the same time. For
B3T you can either emulate this behaviour by turning Percussion Cancel 1’ on, or allow both percussion and 1’ drawbar to be
available at the same time by turning it off.
On the back panel, the Advanced section provides a switch to select percussion as mono or polyphonic.
We recommend polyphonic as mono doesn’t currently operate as expected within the IDT subsystem.
Rotary and Amp Section
While Laurens Hammond was not keen on tonewheel leakage, and
keyclick and tried to “cure” those “problems”, he really disliked Donald
Leslie’s rotary speaker system, and actively attempted to prevent its use
with his organs. Ironically, 50 years later and both the Hammond and
Leslie brands are owned by the same Japanese company.
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Combo B3T Organ
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The main rotary controls are the Rotary Off/On switch and Speed selector. These are chunky,
solid controls that are easily located and operated using your mouse.
Unlike most other B3 and software rotary emulations, the Speed includes Brake as well as
the standard Slow/Fast (aka Chorale/Tremolo) option, for more flexible performance control.
For best results you you will want to map the Speed to your mod wheel (a five second job:
simply right-click on the Speed control, select “Edit Remote Override Mapping” to open the
mapping popup, tick “Learn from control surface input” if it isn’t already ticked, then move
your controller’s mod wheel). Zero mod wheel is now Slow Rotary, max mod wheel is Fast,
and central area is Brake. We have not mapped Speed to mod wheel as a default as you
may prefer to use a different controller. Included Combinator patches do map Speed to mod wheel.
Having Rotary On but with the brake active creates a stereo but still static sound. The stereo width depends on the angle of
the virtual speakers at the point they stopped. It’s a useful trick: just because it’s a rotary speaker, does not mean is has to
rotate!
Nor do both speakers have to move. It was quite common, on the dual rotary speakers, to
disable the pulley on the lower bass speaker (the Rotor). Sometimes the bass rotation can
be distracting and it’s better to just have the upper section spinning. For Combo B3T you
can easily disable rotation for either the Rotor or the upper treble speaker (the Horn).
The speed of the Leslie effect can also be adjusted with the three-way Pulley Select fader. A
Mid position is the standard rotary speeds (0.66/5.75 Hz Rotor, 0.8/6.7 Hz Horn), while High
is around 25% faster and Low is around 25% slower.
The Acceleration controls adjust the time it takes for the rotations of the Rotor or Horn to
move from one speed to another, such as Brake to Slow, or Slow to Fast, and back again.
The default settings, Rotor 6% and Horn 8%, felt like nice values when playing a chord and
ramping the speed up or down between Slow and Fast. Increase the % to make the speed
change faster, reduce it to make it take longer.
X-Over (crossover) sets the frequency of the audio split between the Rotor and Horn. The
default is the standard 800 Hz. This means frequencies below 800 Hz are the bass frequencies sent to the Rotor, frequencies higher than 800 Hz are treble frequencies sent to the
Horn. Unlike other Rotary emulations that limit you to just the usual model 122 or 145
Leslies, we allow the X-Over to be set to an Off position, meaning that all frequencies are
sent to a single speaker; in conjunction with the Height control we can therefore simulate a
single speaker Leslie, such as the 125 or the Vibratone by setting the Height to maximum.
The Mic postions a pair of microphones around the rotary cabinet. Adjust the width between them with the Angle control, from mono (mics together) to full stereo width (mics
180° apart). Height is vertical position of the mics, higher favouring
the Horn, lower favouring the Rotor, or in other words, this is the balance between Rotor and Horn. For a single rotary like the Leslie 125,
set Height to 100% and X-Over to 0 Hz (Off).
Further positional controls are available via the back panel in the Cabinet section. Cabinet Size adjusts
the internal space of the rotary for a more or less airy sound. Distance is an extra mic position control;
set Near for a very obvious and deep tremolo effect, or Far if you want a more subtle throb effect.
Reflection is the amount of the internal chorusing caused by the internal reflections. Damping is a high
shelf EQ, use this to cut highs; Scoop Size can be used to increase the size of the speaker for a fuller
low end. Or in other words, it’s a low shelf EQ.
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Combo B3T Organ
5
The previous page, with fewer words:
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Combo B3T Organ
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For the amplification of your B3T, there are several controls available.
Drive sets the amount of drive applied to the selected Amp Model. Five different amp types are available, Transistor, Tube, Class A, Plexi and Treadplate.
Tone and Presence adjust the low and high frequency
response of the amps, while Hum sets the level of
some AC background noise.
Dual mono/stereo output jacks
The Main Out jacks will auto-route in dual mono/stereo. If using the Rotary and/or Hall leave both connected for stereo output. If not using the Rotary and/or Hall reverb the output is dual mono. While you can leave both connected, for authenticity
you can use just one output, or you could create a faux stereo by processing both mono outs separately through different
effects chains.
Patches
Lots of presets, including reworked versions of many of those found in the ReFill version, are included in the Rack Extension
package, as well as some new Combinators. No other Rack Extensions are used in this package.
Patch levels
As discussed earlier in this guide, all patches have been set relative to a circa -2dB peak using a C3-E3-G3 chord, with full
amp drive, C3 and Normal Percussion and a Full On drawbar setting. Perceptively, levels of patches with fewer harmonics will
sound quieter even at the same peak level. Given the vast range of output levels, depending on drawbar positions, percussion level and amp drive, this means some patches will be very quiet and other patches quite loud. For an additive product
like the B3 there is no point in setting all patches to the same output level, or that defeats the point in having different drawbar settings. Generally patches will output below -8dB.
Voices vs Polyphony
Combo B3T allows for up to around 220 voices. Note that polyphony and voices are different things.
200 voices should provide enough polyphony (12+ notes) before oldest note stealing—where the oldest note active of a
chord is replaced by a new note—occurs. Playing more notes does increase CPU load of the device, though. In typical use a
six note polyphony (for example, two 3-note chords with both left and right hands) has little significant impact.
While the sustain pedal has been left enabled, we do not recommend using it heavily as in testing it has been found it can
crash the device with excessive numbers of notes (256+ notes) being held.
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Combo B3T Organ
7
Remote Mapping
//Remote Map template for Instruments
Jiggery-Pokery Sound: Combo B3 Tonewheels Organ
Scope Jiggery Pokery
com.jiggerypokery.ComboB3T
//
Control Surface Item
Key
Remotable Item Scale
Mode
Map _control_ Volume
Map
_control_
Expression Pedal
Map
_control_
Map
_control_
Map
_control_
Percussion Harmonic
Map
_control_
Map _control_ Percussion
Map
_control_
Map
_control_
Percussion Volume
Map
_control_
Map
_control_
Percussion Decay
Map
_control_
Map _control_ Vibrato
Map
_control_
Map
_control_
Vibrato Chorus
Map
_control_
Map
_control_
Key Click
Map
_control_
Map _control_ Leakage
Map
Map
Map
Map
Map
Map
Map
Map
Map
Map
Map
Map
Map
Map
Map
Map
Map
Map
Map
Map
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
Reverb
Percussion Cancel 1'
Rotary Speaker
Rotary Speed
Rotor Belt
Horn Belt
Pulley Select
Crossover
Horn Acceleration
Rotor Acceleration
Mic Angle
Mic Height
Amp Drive
Amp Presence
Amp Tone
Amp Mode
Reverb Type
Octave Transpose
AC Hum
Preset Selector
Map
Map
Map
Map
Map
Map
Map
Map
Map
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
DB 16' Preset 1
DB 5-13' Preset 1
DB 8' Preset 1
DB 4' Preset 1
DB 2-23' Preset 1
DB 2' Preset 1
DB 1-35' Preset 1
DB 1-13' Preset 1
DB 1' Preset 1
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Combo B3T Organ
DB 16' Preset 2
DB 5-13' Preset 2
DB 8' Preset 2
DB 4' Preset 2
DB 2-23' Preset 2
DB 2' Preset 2
DB 1-35' Preset 2
DB 1-13' Preset 2
DB 1' Preset 2
Map
Map
Map
Map
Map
Map
Map
Map
Map
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
DB 16' Preset 3
DB 5-13' Preset 3
DB 8' Preset 3
DB 4' Preset 3
DB 2-23' Preset 3
DB 2' Preset 3
DB 1-35' Preset 3
DB 1-13' Preset 3
DB 1' Preset 3
Map
Map
Map
Map
Map
Map
Map
Map
Map
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
DB 16' Preset 4
DB 5-13' Preset 4
DB 8' Preset 4
DB 4' Preset 4
DB 2-23' Preset 4
DB 2' Preset 4
DB 1-35' Preset 4
DB 1-13' Preset 4
DB 1' Preset 4
Map
Map
Map
Map
Map
Map
Map
Map
Map
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
DB 16' Preset 5
DB 5-13' Preset 5
DB 8' Preset 5
DB 4' Preset 5
DB 2-23' Preset 5
DB 2' Preset 5
DB 1-35' Preset 5
DB 1-13' Preset 5
DB 1' Preset 5
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Map
Map
Map
Map
Map
Map
Map
Map
Map
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
DB 16' Preset 6
DB 5-13' Preset 6
DB 8' Preset 6
DB 4' Preset 6
DB 2-23' Preset 6
DB 2' Preset 6
DB 1-35' Preset 6
DB 1-13' Preset 6
DB 1' Preset 6
Map
Map
Map
Map
Map
Map
Map
Map
Map
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
DB 16' Preset 9
DB 5-13' Preset 9
DB 8' Preset 9
DB 4' Preset 9
DB 2-23' Preset 9
DB 2' Preset 9
DB 1-35' Preset 9
DB 1-13' Preset 9
DB 1' Preset 9
Map
Map
Map
Map
Map
Map
Map
Map
Map
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
DB 16' Preset 7
DB 5-13' Preset 7
DB 8' Preset 7
DB 4' Preset 7
DB 2-23' Preset 7
DB 2' Preset 7
DB 1-35' Preset 7
DB 1-13' Preset 7
DB 1' Preset 7
Map
Map
Map
Map
Map
Map
Map
Map
Map
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
DB 16' Preset 10
DB 5-13' Preset 10
DB 8' Preset 10
DB 4' Preset 10
DB 2-23' Preset 10
DB 2' Preset 10
DB 1-35' Preset 10
DB 1-13' Preset 10
DB 1' Preset 10
Map
Map
Map
Map
Map
Map
Map
Map
Map
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
_control_
DB 16' Preset 8
DB 5-13' Preset 8
DB 8' Preset 8
DB 4' Preset 8
DB 2-23' Preset 8
DB 2' Preset 8
DB 1-35' Preset 8
DB 1-13' Preset 8
DB 1' Preset 8
Special thanks to the B3T testing crew: alteree, kylelee, xcountrycoach.
Combo B3 Toneswheels Organ was designed and assembled by Jiggery-Pokery Sound, of London, England.
Jiggery-Pokery Sound
London, England.
Email: support@jiggery-pokery.com
Web: www.jiggery-pokery.com
Twitter: @JiggeryPokerymb
Facebook: JiggeryPokerySound
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Combo B3T Organ
9
From the maker of …
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Lolth CV Delay Splitter - 4x4 channel cv splitter with independently adjustable gain and inversion controls, channel delay, and mirroring
Miranda CV Delay Merger - 4x4 channel cv merger with independently adjustable gain and inversion controls, channel delay, and mirroring
Mordred Audio Bypass Merger - 4 x 5 channel stereo audio merger with independently switchable outputs and autofade control
Shelob Audio Bypass Splitter - 4 x 5 channel stereo audio splitter with independently switchable outputs, mirroring, and autofade control
Super-Spider Bundle - Anansi, Itsy, Lolth, Miranda, Mordred and Shelob: buy all six and get one and a couple of knobs on another absolutely free!
Steerpike BBD Delay Ensemble - Vintage style 6-tap BBD device, with multiple delay modes including parallel, serial, and reverse
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ReFills
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Retro Organs v2- Hammond B3 + Farfisa Combo Compact + Vox Continental in one brilliant ReFill. Also available for Reason Essentials
B3 Tonewheels v1.5 - the original 24-bit non-Leslie samples ReFill with advanced rotary speaker emulation
Farfisa Combo Compact Deluxe v1.5 - the complete set of original 24-bit Farfisa samples covering, both standard and Deluxe models
Vox Continental v1.5 - a complete set of original samples from the classic C300 organ, featuring original and extended Continental footages
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Eminent 310 Strings** v3 - the classic Jarre string sound, with stereo samples plus the Oxygene II / Equinoxe 4 pizzicato lead
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For more information on these products and for direct downloads of these
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* Includes samples licensed from HollowSun.com
** demo ReFills for Retrospective
10
Combo B3T Organ
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