Excellent tuition as usual Matt. I actually have this plug in, obviously I can now thanks to you fiddle a lot more. Agreed on Tony, what a champ pianist and creator he is. I can hear him in Rachmaninov for certain. Thank you again.
Great breakdown! I used to have an L-100, the presets like clarinet and trumpet get used in Can-utility and the Coastliners. The parts can be played on a console but the lack of fold back makes the spinet sound very thin up high.
Awesome as always. Your virtual Hammond sounds great! Well I own a 1972 P-100S, which is basically an L-100. Sounds very similar to Tony's tube spinet.
I have the B3X and the Mojo, both are excellent. The B3X is just a little bit brighter. Clones have come so far. I used to have a C3 and M3. Gotta love that Hammond sound!
Hi Matt, Do you happen to have the Drawbars configuration, used by Tony in the song: The return of the Giant Hogwed? I watched the 1972 Live Video, and in one frame you can see that he is using the preset: Full organ, with all the percussions activated and maybe also the brilliance preset... but I assume that during the performance he does Switch between full organ and drawbars, and from the frame you can see that the last white is at 0 and the other central ones more or less around 7/8, unfortunately I can't distinguish the position of the first two browns and not even the other blacks, do you have something more precise? thanks you are always very kind! Franco
Hi, first of all thanks for the great tutorial... if it was translated into Italian it would be great for me, however with a little effort I managed to understand almost everything! I wanted to ask if you can tell me what is the title of the book that you scroll next to that deals with the Hammond T series organ Thanks
Thanks for making another great video. The B-3X modeling software, made in part by the Hammond Organ Company, is probably the most powerful Hammond/Leslie model available for either software or hardware. I tend to doubt even the hardware organ synths would offers a more faithful organ. As you probably know, there had been a software model of the Hammond Tony used, but the company is gone now. They cloned Tony's ARP Pro Soloist, RMI electric piano & his Hammond. I would imagine the presets for it offer most of Tony's settings too. I'm not sure if it would be better than using the B-3X specifically for Tony's sounds or not, though for other Hammond sounds the B-3X would clearly offer more features.
B-3X is indeed excellent. I could see another update adding some features that GSI VB3II has, like “Spinet” mode which disables the fold back. I’d love Pro Soloist and RMI modeled plugins from someone like Arturia.
Now there is a Cherry Audio Pro Soloist, is that good enough? To my ears, yes. RMI is not available, something on Velvet by Air, but not the organ mode
Well I own a 1972 Hammond P-100S with a Solton rotary speaker cabinet (a cheap transistor amped Leslie, not bad at all). It's a portable L-100. It sounds exactly like early Tony. PS I think Tony didn't use the 7th drawbar (the penultimate) for low chords, since it's a major third, which will clash with minor and diminished chords. It's perfect for higher voicings though, for that brass like sound. Just my humble input. PPS: very comprehensive information! I study the Hammond organ since forever and I have nothing to add.
@@mattthomasoverdrive4514yes it is great. Just not for that powerful console sound. it was made in Belgium and Denmark. The keys, generator and all electronics came shipped from the US of course. It's heavy, yes, but with some love it's reliable and the rugged design makes you worry much less about scratches and dents. It doesn't scream (no foldback) and the key click is a little softer than on a console (they tried to "fix" it with built in EQ), but that sweet glow and the beautiful feeling of the 9 contact keys make it worth. In the US the equivalent is the Porta-B, which looks a bit more retro future, but seems to sound the exact same.
Thank you for this! This has been a long quest for me to nail this sound. Your discussion on the drawbar settings opened my eyes. If I may, A suggestion for the effect chain. On the phase 10,Set the left intensity dial to the left-most loop setting. Set the right speed dial to 3.98 . That should recreate the Hammond sweep you hear on seconds out and the Houston 1978 radio bootleg. I timed the sweep to the “we will rock you little snake” part on seconds out version of supper’s ready. For the CE-1, I set the Chorus knob between 0 and 2. I lean more towards zero. The Chorus does serve to fatten up the sweep to my ears, even at the 0 setting but in a more subtle way. But like you said, who knows what settings Banks tweaked from venue to venue based on what he heard. I'm curious to see if you notice the difference with this tweak. Hope it helps!
Great insight. Between my actual vintage pedals, Amplitube (what I’m currently using), and Guitar Rig (what I used to use) I find the settings drastically different but all very usable. There are plenty of times where I stop A/B-ing and just get it where I like it and it sits in the mix. I love hearing people like yourself taking it to the next level!
I've always been intrigued by mutual skills and collaborations and wondered if Tony Banks has ever worked with or corresponded with the incredible Barbara Dennerlein. Both compose for keyboards, indeed there are passages from 11th hour overture that echo Tony Banks.
Since you preparated Tony Bank's sound down to fine details, maybe you know the answer? What keyboard Tony Banks used in Wind & Wuthering to reproduce massive church organ sound? particularly in All In A Mouse's Night. it's not a Hammond, digital samplers didnt exist at the time yet. could it be a RS202 or Polymoog or smth else processed with heavy chorus/delay effect ?
That’s the Roland RS-202, which has a built in chorus, like most string synthesizers. That’s also what he layered with the Mellotron violins on Blood On The Rooftops, and other songs on the next album.
I think I have got Tony's Suppers ready drawbars the only problem is that the sound needs percussion to sound like it. You can see on the 1976 In Concert film that he has the celesta and guitar percussion tabs pressed down. Sadly no samples or recreations of the percussions exist so I might have to play it without the percussion
Matt, I have the Arturia V2 version as well, but also never use it for stuff like this. To my ears, Logic's native B3 does a much better job getting close to the early album sounds I'm into (Foxtrot/Selling England...era). I found in general the Arturia plugin is a CPU hog for what it gives you, and just in general sounds *much* duller than the Logic B3. Plus it's too fiddly, with those dorky "point and click/escape room game" amps and pedals sections in the GUI. Now, I *love* many of the synths in that collection, particularly the CS-80, ARP 2600 and Oberheim SEM. They're so much fun to play around with. Even the Fairlight. But that just sonic/musical exploration. When I want a B3 on a track, I generally have a sound in my head, and want as straight a line as possible between opening a plugin and dialing in the tone I want. Logic's version does just that for me.
I do like Apple’s “Vintage B3”, it even uses my miking technique as it’s default emulation: 2 SM57’s on top and an RE-20 on the bottom. I give the edge to GSI VB3II and IK B-3X for their Leslie simulations, they sound most realistic to me, especially at the fast settings.
Excellent tuition as usual Matt. I actually have this plug in, obviously I can now thanks to you fiddle a lot more.
Agreed on Tony, what a champ pianist and creator he is. I can hear him in Rachmaninov for certain.
Thank you again.
Huge props for this man, it's helped me with getting those Tony sounds on my admittedly much more limited setup a lot.
You made me happy with your research! My compliments. Extremely well done
These videos are going to be incredibly helpful when trying to learn the various keyboard parts in Selling English by the Pound.
Great breakdown! I used to have an L-100, the presets like clarinet and trumpet get used in Can-utility and the Coastliners. The parts can be played on a console but the lack of fold back makes the spinet sound very thin up high.
I should have mentioned that the L series has different preset tabs. We should look up the manual and see what the drawbar settings are.
L series upper manual:
Trumpet 006688888
Clarinet 008080800
Full organ 868868446
Lower manual:
Ensemble 006644222
Awesome as always. Your virtual Hammond sounds great! Well I own a 1972 P-100S, which is basically an L-100. Sounds very similar to Tony's tube spinet.
I have the B3X and the Mojo, both are excellent. The B3X is just a little bit brighter. Clones have come so far. I used to have a C3 and M3. Gotta love that Hammond sound!
i think the full tibias setting was used a lot in Selling England by the Pound in the heavier parts
"Theater Brass" setting on the T-102 that Tony used from SEBTP through Duke.
On Duke I'm hearing the Hammond phase 90/chorus ce-1 on dukes travels around 7:00 when Mike's bass pedals kick in.
It’s definitely all over the live version. I suppose I’m revealing how little I listen to the studio albums these days 🤣
@@mattthomasoverdrive4514 I have the feeling tony was glad to get rid of that Hammond when he did when the poly synths improved
Wasn’t the hammond on Cul De Sac?
It probably is one of those many layers in that song.
Pretty sure it's on Duke's Travels (album version) as well.
Hi Matt,
Do you happen to have the Drawbars configuration, used by Tony
in the song: The return of the Giant Hogwed?
I watched the 1972 Live Video, and in one frame you can see that he is using the preset: Full organ, with all the percussions activated and maybe also the brilliance preset...
but I assume that during the performance he does Switch between full organ and
drawbars, and from the frame you can see that the last white is at 0
and the other central ones more or less around 7/8, unfortunately I can't distinguish the position of the first two browns and not even the other blacks, do you have something more precise?
thanks you are always very kind!
Franco
L series upper manual:
Full organ 868868446
He did use vibrato on The Knife.
Hi,
first of all thanks for the great tutorial...
if it was translated into Italian it would be great for me,
however with a little effort I managed to understand almost everything!
I wanted to ask if you can tell me what is the title of the book that you scroll next to that deals with the Hammond T series organ
Thanks
archive.org/details/HammondOrganT-seriesOwnersManual
I searched “Hammond t series manual”
Many Thanks
Thanks for making another great video. The B-3X modeling software, made in part by the Hammond Organ Company, is probably the most powerful Hammond/Leslie model available for either software or hardware. I tend to doubt even the hardware organ synths would offers a more faithful organ.
As you probably know, there had been a software model of the Hammond Tony used, but the company is gone now. They cloned Tony's ARP Pro Soloist, RMI electric piano & his Hammond. I would imagine the presets for it offer most of Tony's settings too. I'm not sure if it would be better than using the B-3X specifically for Tony's sounds or not, though for other Hammond sounds the B-3X would clearly offer more features.
B-3X is indeed excellent. I could see another update adding some features that GSI VB3II has, like “Spinet” mode which disables the fold back.
I’d love Pro Soloist and RMI modeled plugins from someone like Arturia.
Now there is a Cherry Audio Pro Soloist, is that good enough? To my ears, yes.
RMI is not available, something on Velvet by Air, but not the organ mode
There's a free L-122 vst available that does his early sounds well
Well I own a 1972 Hammond P-100S with a Solton rotary speaker cabinet (a cheap transistor amped Leslie, not bad at all). It's a portable L-100. It sounds exactly like early Tony. PS I think Tony didn't use the 7th drawbar (the penultimate) for low chords, since it's a major third, which will clash with minor and diminished chords. It's perfect for higher voicings though, for that brass like sound. Just my humble input. PPS: very comprehensive information! I study the Hammond organ since forever and I have nothing to add.
I’d never heard of the P-100S, seems like a great organ.
@@mattthomasoverdrive4514yes it is great. Just not for that powerful console sound. it was made in Belgium and Denmark. The keys, generator and all electronics came shipped from the US of course. It's heavy, yes, but with some love it's reliable and the rugged design makes you worry much less about scratches and dents. It doesn't scream (no foldback) and the key click is a little softer than on a console (they tried to "fix" it with built in EQ), but that sweet glow and the beautiful feeling of the 9 contact keys make it worth. In the US the equivalent is the Porta-B, which looks a bit more retro future, but seems to sound the exact same.
mid 80s had a synclaiver sound from that's all that got used for the instrumental part of 9/8 in 1986
Saw them in 86 right after they dropped suppers ready 9/8 from the set! good show anyway glad I saw them while they were still relatively young.
Thank you for this! This has been a long quest for me to nail this sound. Your discussion on the drawbar settings opened my eyes. If I may, A suggestion for the effect chain. On the phase 10,Set the left intensity dial to the left-most loop setting. Set the right speed dial to 3.98 . That should recreate the Hammond sweep you hear on seconds out and the Houston 1978 radio bootleg. I timed the sweep to the “we will rock you little snake” part on seconds out version of supper’s ready. For the CE-1, I set the Chorus knob between 0 and 2. I lean more towards zero. The Chorus does serve to fatten up the sweep to my ears, even at the 0 setting but in a more subtle way. But like you said, who knows what settings Banks tweaked from venue to venue based on what he heard. I'm curious to see if you notice the difference with this tweak. Hope it helps!
Great insight. Between my actual vintage pedals, Amplitube (what I’m currently using), and Guitar Rig (what I used to use) I find the settings drastically different but all very usable. There are plenty of times where I stop A/B-ing and just get it where I like it and it sits in the mix. I love hearing people like yourself taking it to the next level!
Have you ever considered doing a similar series with other Prog Bands like Pink Floyd or Yes?
Duuuuude, my goal is to do the entire Wish You Were Here album, once the Behringer VCS3 comes out as I have all the other instruments.
I have a Lowrey it's a mid 70s console spinet
I've always been intrigued by mutual skills and collaborations and wondered if Tony Banks has ever worked with or corresponded with the incredible Barbara Dennerlein. Both compose for keyboards, indeed there are passages from 11th hour overture that echo Tony Banks.
I’ve never heard of her, looks like she’s a jazz organist. Gotta check out her work.
Since you preparated Tony Bank's sound down to fine details, maybe you know the answer? What keyboard Tony Banks used in Wind & Wuthering to reproduce massive church organ sound? particularly in All In A Mouse's Night. it's not a Hammond, digital samplers didnt exist at the time yet. could it be a RS202 or Polymoog or smth else processed with heavy chorus/delay effect ?
That’s the Roland RS-202, which has a built in chorus, like most string synthesizers. That’s also what he layered with the Mellotron violins on Blood On The Rooftops, and other songs on the next album.
I think I have got Tony's Suppers ready drawbars the only problem is that the sound needs percussion to sound like it. You can see on the 1976 In Concert film that he has the celesta and guitar percussion tabs pressed down. Sadly no samples or recreations of the percussions exist so I might have to play it without the percussion
Celesta=2nd Harmonic Percussion on console organs.
Sounds cool 😎 thanks for sharing. You need to include the Hammond module RMXM2c
I’m not familiar with that module. Is that something Tony used in the 90’s?
Hello,...For the apocalypse lead, Tony plays 456787654 OR 888800000 ?
It’s got 2nd harmonic percussion on it. The latter is what he used in the Seconds Out T series organ era.
Matt, I have the Arturia V2 version as well, but also never use it for stuff like this. To my ears, Logic's native B3 does a much better job getting close to the early album sounds I'm into (Foxtrot/Selling England...era). I found in general the Arturia plugin is a CPU hog for what it gives you, and just in general sounds *much* duller than the Logic B3. Plus it's too fiddly, with those dorky "point and click/escape room game" amps and pedals sections in the GUI. Now, I *love* many of the synths in that collection, particularly the CS-80, ARP 2600 and Oberheim SEM. They're so much fun to play around with. Even the Fairlight. But that just sonic/musical exploration. When I want a B3 on a track, I generally have a sound in my head, and want as straight a line as possible between opening a plugin and dialing in the tone I want. Logic's version does just that for me.
I do like Apple’s “Vintage B3”, it even uses my miking technique as it’s default emulation: 2 SM57’s on top and an RE-20 on the bottom. I give the edge to GSI VB3II and IK B-3X for their Leslie simulations, they sound most realistic to me, especially at the fast settings.
Very helpful, thanks! I'm going to go monkey with the drawbars and rocker switches on my M-3 right now! Loved "don't be a hero" too.
The M3’s are great!
You're theeee best.
The L series tou could oveedeove and get a real dirty sound.