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Rusty Mike wrote:Are you amplifying in mono or stereo?
Hard-panned Stereo speakers will certainly exaggerate the rotary effect.
How is this done?
Method 1 - running directly to powered speakers. Connect the left and right outputs of the Electro each to separate powered speakers. Each speaker will only amply the sound out of that separate channel.
Method 2 - running through a stereo mixer. Connect the left and right output into separate mixer channels and then hard-pan the channel output. The left output channel panned all the way left and likewise for the right. The mixer left and right outputs go to separate speakers.
Mike from Central NJ, USA
Tools: Ten fingers, two feet, middle-age brain, questionable judgement and taste Current Nords: Piano 5 73, Electro 6D 73
Ownership History: Electro 2, Electro 3-73 SW, Electro 3HP, Electro 4D, Stage 2EX 76HP
Rusty Mike is right, you're not going to get any serious "wobble" playing in mono, unless it's through a real spinning horn. Maybe some sims do better than others in mono, but you're going to want stereo if that's what you're going for. With a real Leslie in a room, each ear is hearing something slightly different. No way that's going to happen with mono.
The stereo vs mono debate is a familiar one with keys players. The pro-mono side says that mono is simpler, easier to run through FOH PA systems, and avoids potential phasing issues. The pro-stereo side says "love me a stereo sound stage". I'm obviously in the latter camp. That being said, I'll play mono under certain circumstances as it's good enough.
The farther apart you can put the two speakers, the better. The exception is the aforementioned SSv3 which has a "wide" control on a single speaker. Few systems do Leslie as well as this one, the exception being the Motion Sound small rotating units and similar.
Rock organists often get a much more pronounced on-axis/off-axis Leslie horn sound by physically breaking off the diffusor that sits in front of the Leslie horn. So rather than the sound getting spread off in all directions at the mouth of the horn, you'll get the horn blaring directly at the microphone pointed at it.
There is no way to simulate this effect with the Nord's internal sim, because it reproduces a stock Leslie horn with the plastic diffusor.
Last edited by analogika on 29 Oct 2019, 00:35, edited 2 times in total.
Not sure of all the parameters in the NE6 as I have multiple NS3, NS2 etc. but remember from my NE5. Important to do the 122 Close and set each of the high low speakers to slowest acceleration to more closely replicate a vintage Leslie. Then set the high rotary ratio to either 60/40 or even 70/30 to give you a more aggressive high end where the "sweep" is heard more pronounced.
All of that and I still use a Ventilator 100% of the time.
Nords: NE2, NS2 88, NS3 Compact x 2
Live rig: NS3, Vent, Radial KL-8, Shure PSM-900 IEM Rig, UE18 & UE7 IEMs.
Studio: Hammond A-101 & Leslie 122, Yamaha CP-80, Yamaha S90, NS2, DSI Prophet-6, Vent II, Roland JX-8P.
You don't "hard pan" the speakers per se, but if you do have a stereo setup with two standalone speakers (such as two powered studio monitors or loudspeakers), you can spread them further apart for more stereo separation. With a Nord the entirety of left signal goes to the left speaker and same for the right. You would only need to 'pan' if using a mixer (panning done on mixer itself) that would possibly mono sum the two channels to the pair. Keep in mind the B3 is mono by nature and it's the Leslie sim effect that is stereo, so don't expect to notice a difference without the Leslie engaged.
