Stage 4 - all effects are mono when rotary speaker is on

[Rhodesclmk2]

When playing organ, I have noticed that all other layer effects are only in mono when the Rotary Speaker Simulation is switched on.
Is this a bug or is it intentional?

You can clearly hear the difference with the Booth and Room Reverb or the Vibe FX, for example.
In other words, I can't hear the simulated Leslie in the same reverb spaces in which I can hear pianos or synths.
Of course, the Leslie simulation is stereo (but unfortunately we can't adjust the spreading/width), but I would like to add the usual (stereo) layer effects/reverbs to this Leslie.

I find this a major limitation.

[FZiegler]

Wasn't the reverb on a Stage 4 pre-Leslie again? While it was post-Leslie on NS3?

Which of course means two things: You can use a spring reverb at exactly the place it needs to be; and the rest of internal reverbs is of no use when playing with rotary simulation and you need an external reverb for ambient sound.

Which should be different for the other effects, but I'm not so sure about that.

[Rhodesclmk2]

Wasn't the reverb on a Stage 4 pre-Leslie again? While it was post-Leslie on NS3?

Which of course means two things: You can use a spring reverb at exactly the place it needs to be; and the rest of internal reverbs is of no use when playing with rotary simulation and you need an external reverb for ambient sound.

Which should be different for the other effects, but I'm not so sure about that.

Yes, it seems to be like you describe. All reverbs (and other effects) are pre-Leslie.
As you are writing, whereas the spring reverb makes sense in this order, all "normal" reverb effects should be post-Leslie (meaning: the Leslie stands in a Booth, Room, Stage, Hall, Cathedral).

So, it's either a bug or a bad design - both isn't funny for a "flagship".

[Rhodesclmk2]

I tried to contact Nord in order to fix it! you're right.. not a sense to have pre hall or cathedral before leslie!

[WannitBBBad]

I tried to contact Nord in order to fix it! you're right.. not a sense to have pre hall or cathedral before leslie!

Unfortunately it's by design just like the Stage 3. It doesn't make sense except for the spring reverb as you mention. Similarly, it doesn't make sense that the reverb and delay effects are pre-fader on the Stage 4, unlike previous Stage models.

[analogika]

I tried to contact Nord in order to fix it! you're right.. not a sense to have pre hall or cathedral before leslie!

Unfortunately it's by design just like the Stage 3. It doesn't make sense except for the spring reverb as you mention.

Yes, it would be great if only the spring reverb mode were routed pre-Leslie. But then, I'd prefer the DELAY to be routed pre-Leslie, as well — but only the Space Echo mode (which is my analog setup — Hammond + ARP Odyssey —> Space Echo delay w/ spring reverb —> Leslie).

But since not everybody will want that for their delay (including you), we're at the point where you'd really need to allow a routing decision PER EFFECT MODE — or just make a basic design decision and have people live with it.

We see which option Clavia went for.

Similarly, it doesn't make sense that the reverb and delay effects are pre-fader on the Stage 4, unlike previous Stage models.

This, in fact, does make technical sense, since it's actually the same way it was on the Stage 3 and previous: the effects are per-slot. Muting the slot/panel instantly mutes the effects as well (including reverb/delay tails).

It's just that on the Stage 4, every instrument engine is its own slot/panel.
In previous machines, each instrument on a slot/panel had a gain pot, and the slot/panel itself only having the option to mute/unmute (on/off),
In the Stage 4, they turned the on/off switch for each slot/panel into a volume slider and removed the individual instruments' gain.

This allowed them to reuse the panel architecture they already had, rather than developing the whole thing from scratch.

They could have kept the pre-FX instrument gain as on the Stage 3, PLUS the slot mute, but then it gets really weird and complex with allowing effects to affect, say, only two out of the three synth engines, but still keeping the third engine active.

The balance they've struck is confusing enough as it is.