|
|
Post by indiehouse on Jan 25, 2023 21:17:36 GMT -6
I'm using Acoustic Samples B-5 V3. How do you like to pan something like this? Mono or stereo? I don't particularly like the built in amp simulation and was thinking about running it out to one of my own guitar amps. But then that would limit me to mono. Wondering what the most common panning is on a B3?
|
|
|
|
Post by Johnkenn on Jan 25, 2023 21:20:44 GMT -6
I'm using Acoustic Samples B-5 V3. How do you like to pan something like this? Mono or stereo? I don't particularly like the built in amp simulation and was thinking about running it out to one of my own guitar amps. But then that would limit me to mono. Wondering what the most common panning is on a B3? I mostly do stereo…but lately have been panning to one side for some quirkier stuff. Maybe not completely, but like a stereo channel with L100 and R center. |
|
|
|
Post by Blackdawg on Jan 25, 2023 22:16:10 GMT -6
Stereo here. It's how you get to hear the Leslie rotor the best. Mono can work in a dense mix though.
|
|
|
|
Post by drbill on Jan 25, 2023 22:52:43 GMT -6
No rules. Pan as desired and/or as fits the track.
|
|
|
|
Post by srb on Jan 25, 2023 23:07:11 GMT -6
B3 and Leslie here at my shop. I like a three mic setup: L, R on top rotor panned to taste either side. I use a mic on the bottom rotor as well and blend it in the center as suits the material. Those lower frequencies really round out the 'dimensionality'.
My 5088 console has a "width" control in conjunction with the panning on the stereo channels, and that can work wonders when looking for an 'enveloping' effect. It can be overdone, but I almost always use it to some degree. How much is contingent on how 'featured' I want the B3 to be.
Hard to beat the real deal. I realize for most a model/emulation is preferable for lots of reasons.
You might try some mid/side manipulation in your software for more interesting spread of such a complex sound.
|
|
|
|
Post by lpedrum on Jan 26, 2023 0:30:51 GMT -6
If the goal is to try and make it sound as authentic as possible I would stay away from wide panning, too much top end, close mic settings, and the fast Leslie speed. B3 Samples usually fail at those things in a way that's not always obvious until you try to get it to sit in the mix. I personally think it's best to go tight panning or mono with samples and keep the EQ as organic sounding as possible. Running it through a real spring tank would help too.
|
|
|
|
Post by gwlee7 on Jan 26, 2023 6:32:26 GMT -6
I'm using Acoustic Samples B-5 V3. How do you like to pan something like this? Mono or stereo? I don't particularly like the built in amp simulation and was thinking about running it out to one of my own guitar amps. But then that would limit me to mono. Wondering what the most common panning is on a B3? Couldn’t you run L & R out one at the time through your amp of choice? I know it would take a bit longer but that way you could preserve stereo. |
|
|
|
Post by Ward on Jan 26, 2023 6:41:10 GMT -6
One channel up the center, the other channel hard left or hard right (away from any guitar movement).
|
|
|
|
Post by Johnkenn on Jan 26, 2023 7:52:15 GMT -6
One channel up the center, the other channel hard left or hard right (away from any guitar movement). Yeah. If I’m going for pulling it off to one side that’s what I do…that way you still get the Leslie moving around the spectrum a bit. Sometimes I’ll try and get it as wide as I can - even use something like Goodhertz midside and pull the sides out more. |
|
|
|
Post by EmRR on Jan 26, 2023 8:37:38 GMT -6
Different stereo mic approaches will call for different panning. If it's gonna be mono, I'll dump a mic if there are 2 up top, or if I know it just mic top with one more optimally. LPF/HPF of the various elements will really help dial it in. Have had several players insist the bottom needed to be LPF'd about 700, for instance.
|
|
|
|
Post by mcirish on Jan 26, 2023 11:06:24 GMT -6
It depends on the song but mostly I record with two mics, one on top and another on the bottom. Both are out a couple feet and panned about 50% LR. If it's a real dense mix, I will bring them closer to mono and pan to a side. I have plenty of VI to do B3 stuff, but as I found out the other night, there's something pretty magical about the real deal. To me, it's kind of like piano. There are lots of great sounding piano samples, but a real piano mic'd up has a whole different (good) feel that the samples just can't match. I just wish I had a bigger room where I could leave the leslie out all the time. I also wish real pianos didn't have to be tuned so often. I've gotten pretty good but it's still a buzz-kill to have to take a few hours to tune before a session.
|
|
|
|
Post by wiz on Jan 26, 2023 15:58:16 GMT -6
Mainly stereo, but I find Mid Side EQ essential, and remove some of the mud in the centre...
Cheers
Wiz
|
|
|
|
Post by indiehouse on Jan 26, 2023 16:29:54 GMT -6
Does anyone know of a primer on dialing in B3 sounds, and maybe coming chord voicings? I know next to nothing and would like to learn. I have a very simple song I’m trying to add a bit of B3 to on just 3 choruses, just 2 chords.
|
|
ericn
Temp
Balance Engineer
Posts: 16,107 
|
Post by ericn on Jan 26, 2023 16:38:29 GMT -6
No rules. Pan as desired and/or as fits the track. Yeah you always think that everyone had to really dig into the Leslie effect and spread it out, but if you start listening to classic tracks it’s really positioned off to the side just as often. I suspect this has to do with the fact that between the track number limitations and the fact that in many cases it’s treated as a fill or effect as panning based on stage setup. |
|
|
|
Post by EmRR on Jan 26, 2023 16:52:52 GMT -6
Does anyone know of a primer on dialing in B3 sounds, and maybe coming chord voicings? I know next to nothing and would like to learn. I have a very simple song I’m trying to add a bit of B3 to on just 3 choruses, just 2 chords. There was a book called "The Hammond Encyclopedia" or similar that was pages and pages of drawbar settings to mimic particular instruments. There's bound to be others, prob out there as free pdf's these days. |
|
|
|
Post by drumsound on Jan 26, 2023 17:16:47 GMT -6
Does anyone know of a primer on dialing in B3 sounds, and maybe coming chord voicings? I know next to nothing and would like to learn. I have a very simple song I’m trying to add a bit of B3 to on just 3 choruses, just 2 chords. This, like the panning really is production and arrangement based. Sometimes a really simple 2 note voicing can work great for just putting a little texture into the song. It can be especially nice if there's a common tone that is just held the whole time while the other note moves. Like if the chords are C and F. You can hold the C and not let up and move between E or G to the F. As to panning, the same rules apply, what's it's function? |
|
|
|
Post by lpedrum on Jan 26, 2023 23:03:22 GMT -6
Does anyone know of a primer on dialing in B3 sounds, and maybe coming chord voicings? I know next to nothing and would like to learn. I have a very simple song I’m trying to add a bit of B3 to on just 3 choruses, just 2 chords. A friend of mine wrote this BOOK. Highly recommended. |
|
|
|
Post by indiehouse on Jan 27, 2023 8:47:58 GMT -6
Does anyone know of a primer on dialing in B3 sounds, and maybe coming chord voicings? I know next to nothing and would like to learn. I have a very simple song I’m trying to add a bit of B3 to on just 3 choruses, just 2 chords. This, like the panning really is production and arrangement based. Sometimes a really simple 2 note voicing can work great for just putting a little texture into the song. It can be especially nice if there's a common tone that is just held the whole time while the other note moves. Like if the chords are C and F. You can hold the C and not let up and move between E or G to the F. As to panning, the same rules apply, what's it's function? To fill out the choruses and give a little more energy there. |
|
|
|
Post by jeremygillespie on Jan 27, 2023 17:49:28 GMT -6
Does anyone know of a primer on dialing in B3 sounds, and maybe coming chord voicings? I know next to nothing and would like to learn. I have a very simple song I’m trying to add a bit of B3 to on just 3 choruses, just 2 chords. A friend of mine wrote this BOOK. Highly recommended. Just order this book. It’s fantastic - I got it like 15 years ago or so and it taught me so much and changed how I listened to the B3. Such a beast of an instrument. |
|
|
|
Post by drumsound on Jan 28, 2023 14:09:48 GMT -6
This, like the panning really is production and arrangement based. Sometimes a really simple 2 note voicing can work great for just putting a little texture into the song. It can be especially nice if there's a common tone that is just held the whole time while the other note moves. Like if the chords are C and F. You can hold the C and not let up and move between E or G to the F. As to panning, the same rules apply, what's it's function? To fill out the choruses and give a little more energy there. Based solely on that description I'd want a nice stereo Leslie sound. It can add a lot of width to a mix/arrangement. Depending on other things, maybe a mic on the bottom of the Leslie isn't even necessary. |
|
|
|
Post by srb on Jan 28, 2023 14:20:52 GMT -6
To fill out the choruses and give a little more energy there. Based solely on that description I'd want a nice stereo Leslie sound. It can add a lot of width to a mix/arrangement. Depending on other things, maybe a mic on the bottom of the Leslie isn't even necessary. I've done this, too. Can work really well if you don't need (or don't want) the lower frequencies from the bottom rotor. The lower baffle does spin slightly slower than the horns, so that difference, if you do include the bottom, can really enhance the 'dimensionality' of the resulting output. That's my experience, at least. |
|
|
|
Post by rob61 on Jan 28, 2023 14:24:28 GMT -6
To fill out the choruses and give a little more energy there. Based solely on that description I'd want a nice stereo Leslie sound. It can add a lot of width to a mix/arrangement. Depending on other things, maybe a mic on the bottom of the Leslie isn't even necessary. With a 122 Leslie (or its relative) the crossover between the Jensen V-21 upper driver (with the rotating horns) and the 15 inch bass speaker is 800Hz if that helps. |
|
|
|
Post by drumsound on Jan 28, 2023 14:30:31 GMT -6
Based solely on that description I'd want a nice stereo Leslie sound. It can add a lot of width to a mix/arrangement. Depending on other things, maybe a mic on the bottom of the Leslie isn't even necessary. I've done this, too. Can work really well if you don't need (or don't want) the lower frequencies from the bottom rotor. The lower baffle does spin slightly slower than the horns, so that difference, if you do include the bottom, can really enhance the 'dimensionality' of the resulting output. That's my experience, at least. That tracks with my experience as well. Sometimes just backing off a stereo pair can get that low end dimensionality without it being as pronounced as a mic directly on the rotor. |
|
