NS3 Rotary Speaker Vs. Neo Ventilator II A/B Comparison

[eibinger]

Great, thank you very much! I use a NEO I with my stage3 and made the same experience.
Do you also use the EQ from the Stage3 or is it only the Neo, that makes such a great sound?
Thanks again!

The settings the OP used are posted at the top of this page and in the previous one

Sorry for that question! I hadn't seen the EQ-Settings of the Stage. I thought, they were concerning the Neo.

[Davey Nordy]

I keep my Mini Vent 2, a patch cord to to from my NS3 73 to the Vent and the Vent's power supply in the same bag that holds everything else needed for my NS3: my long twin ¼" cable, IEC power cords and an extension cable for the NS3 and my Center Point Spacestation XL amp, expression pedal and sustain pedal. The Vent adds about a pound to the bag's weight. I normally gig with a Hammond XK-5 System and a Leslie, and use the NS3 and Spacestation for piano and other sounds, but when setup time is very short or the stage is very small I'll just use the Nord and the Spacestation. If time is extremely short I'll leave the Vent out of the set up (and take a minute to turn on the Leslie sim in my handful of organ programs), but otherwise I use it instead of the Nord's Leslie sim. I do this because the Vent simply sounds better to me than the Nord's sim. But, the Nord's sim is "good enough" and I've never had anyone in the audience, including discerning musicians, complain about it.

[oldnemo]

Nice comparison, thanks. Ventilator has the edge on fast and rise/fall IMO. Stage 3 is plainly much better on fast than the Stage 2, where it crumbles into a simple tremolo; tho chorale on both is acceptable if you don't listen too hard.

[WannitBBBad]

Nice comparison, thanks. Ventilator has the edge on fast and rise/fall IMO. Stage 3 is plainly much better on fast than the Stage 2, where it crumbles into a simple tremolo; tho chorale on both is acceptable if you don't listen too hard.

I agree with you about the Leslie on the Stage 3 being much better - the close mic setting helps. When I had my Stage 2, I put together a program that used the MW to control the Leslie all the way from stopped to its fast rotation and also morphed it to the Effect 1 Rate/Tempo for the Tremolo to accent the Leslie rotating effect. As the Leslie Fast/Slow buttons could override the MW, and the Effect 1 could easily be turned off as needed, I used it quite a bit when playing out. The program is posted at post48819.html#p48819 if you're interested in checking it out. Take care

[Hlaalu]

I agree with you about the Leslie on the Stage 3 being much better - the close mic setting helps. When I had my Stage 2, I put together a program that used the MW to control the Leslie all the way from stopped to its fast rotation and also morphed it to the Effect 1 Rate/Tempo for the Tremolo to accent the Leslie rotating effect. As the Leslie Fast/Slow buttons could override the MW, and the Effect 1 could easily be turned off as needed, I used it quite a bit when playing out. The program is posted at post48819.html#p48819 if you're interested in checking it out. Take care

To sync the timing of the Leslie rotation with the tremolo effect is a nice idea, gotta try that out.

As for the "continuous" Leslie control, it's a fascinating idea that I've played around a bit occasionally, but I always have had a hard time picturing what kind of musical effect that would suit best. It seems to me there's an "uncanny valley" of rotation speed, between slow and fast, that doesn't sound either slow (where it just float in there and surrounds the environment), or fast, where the actual RPM of the rotation doesn't affect the tempo of the tune, and it's just heard as a chorus / tremolo. Pretty much anything in between has always sounded to me like something "eager" to spin faster but which kind of couldn't, and actually interfering with the tempo. It creates some sort of anxiety that, again, I couldn't do much of musically. But in itself I still think it's a good idea and it must have some kind of hidden potential. Is there any example of how you used this feature? I am not aware of any classic organ player taking advantage of this in the past -- assuming that real Leslies capable of doing this have ever existed. I thought so but I was corrected by someone in this forum, can't remember the thread now.

[WannitBBBad]

...As for the "continuous" Leslie control, it's a fascinating idea that I've played around a bit occasionally, but I always have had a hard time picturing what kind of musical effect that would suit best. It seems to me there's an "uncanny valley" of rotation speed, between slow and fast, that doesn't sound either slow (where it just float in there and surrounds the environment), or fast, where the actual RPM of the rotation doesn't affect the tempo of the tune, and it's just heard as a chorus / tremolo. Pretty much anything in between has always sounded to me like something "eager" to spin faster but which kind of couldn't, and actually interfering with the tempo. It creates some sort of anxiety that, again, I couldn't do much of musically. But in itself I still think it's a good idea and it must have some kind of hidden potential. Is there any example of how you used this feature?...

Musically I've always used it between a stopped, slow or fast setting, however the flexibility in how slow or how fast you want the effect is nice. Nord gives you the capability to pre-select the slow and fast settings for the buttons, the MW let's you move from stop up to the selected fast setting. On a few songs I would slow down the fast mode a little. It would be interesting to set the speed to match the tempo of a song, perhaps at some ratio as a pad. Thanks for your comments, I might try that next time I sit down with my Nord. Take care.

[Hlaalu]

Musically I've always used it between a stopped, slow or fast setting, however the flexibility in how slow or how fast you want the effect is nice.

Yeah this sort of confirms my feelings about the "uncanny valley of speeds".

It would be interesting to set the speed to match the tempo of a song, perhaps at some ratio as a pad.

I'll try this out too, but once again I have the feeling that, once the speed goes past a certain point, it simply stops being parsed by the ear as something with a tempo altogether, and starts sounding as just a different timbre / effect with no relation to the beat, so I guess having the rotors RPM matching the tempo of the song wouldn't make that much of a difference. It could possibly sound even "too square" and thus a bit artificial, but who knows. After all, the Hammond (and the Leslie) are still young instruments, plenty of things to explore yet I'm sure of it!

[musicbysterling]

Thank you for you detailed post.I am curious if you have experimented with putting the Ventilator before the Hall Of Fame.
Mark

[Schorsch]

Thank you for you detailed post.I am curious if you have experimented with putting the Ventilator before the Hall Of Fame.
Mark

I have, and it sounds good to my taste. I have also tried two HoF, one before with just a bit of spring reverb and another one after the vent, and it sounded even better. It’s just too much to use on stage because of cabling, power supply and space

[mrvegas]

Hello there, I really appreciate the uploaded comparisons using different genres. The audio files are named as NS3 Sim vs. Ventilator, so I assume the the first part of each video is the NS3 Sim and the second part of each audio file is the Ventilator. Do I have that correct, or is it the other way around?