D C CP P P P r ro o d du u c ct ti i o on n s s' '
"B's K K nees" c l la s o a s ss s i ic c o o r rg ga an ns s s ou u n nd d b ba an nk k f o t h Y a M o X S S R a f or o r r t t he h e e Y Y am a m m a a a h h h a a a M M ot o t t i i if f f X X S – S – – X X X S R S R ac a c ck k k
OWNER’S M M ANU AL
I nt r ro od d u c t ti i o on
Thank you for purchasing pur chasing the DCP productions "B's Knees" Classic Organs soundbank for the Yamaha Motif XS synthesizer/workstation. This soundbank utilizes the Motif XS’ internal WaveROM and requires no external samples, therefore, the installation of extra user RAM in Motif is not required. It is recommended that you purchase a volume pedal for your Motif XS to use these organ voices most effectively. The organ was the original "synth", and it was first used to replace the orchestra in churches where a real orchestra was either unaffordable, or would not physically fit in the church due to space limitations. The use of the pedal to create "volume swells" was an integral part of early organ techique and still is today. “B’s Knees” was the very first third-party soundbank available for the Motif family of synth workstations. The XS version of “B’s Knees” represents a significant improvement over previous versions of the library. Rotary speaker sound, scanner vibrato, percussion trigger behavior, noise, leakage, keyclick sound and behavior, and tonewheel character are now more authentic, and several of the voices feature additional “drawbars” (up to 8), taking advantage of the XS’ 8-element architecture and new organ sample waveforms.
Some Organ History…
The huge pipe organs used switches (or "tabs") to activate combinations of pipes, which would simulate brass, reed, flute, and string sounds. The Hammond electronic organ used a series of drawbars to control the sounds, the 16' drawbar corresponding to the 16' pipe, the 8' drawbar corresponding to the 8' pipe, and so on. Basically, the Hammond electronic organ produced sine wave tones which when combined in different configurations created more complex timbres. To try and put it simply, the even numbered drawbars were used to create fundamentals and the odd numbered drawbars added overtones, more or less. The Hammond organ had other peculiarities in its design which contributed to the famous Hammond sound still used in popular music today, decades after its invention. Inside the Hammond are 96 notched "tonewheels" of different shapes and sizes which spin at a certain speed within a magnetic field. The rotating tonewheels create an electric current in a coil, much like a vibrating string on an electric guitar creates a current in an electric guitar pickup (see illustration below).
Unlike a modern synth, the Hammond organ was basically an electromechanical device. The combination of the spinning tonewheels, motors, magnetic fields and wires produced a particular background noise called "leakage", which was something like white noise with metallic overtones. The keyboard mechanism used contacts which when dirty produced an audible "click" when being played. This "keyclick" sound became part of the desirable Hammond "vibe" as well. A percussive bell-like overtone (called "percussion", naturally) was added to later model Hammonds and was used by Hammond players to accentuate the sound of the organ.
LESLIE SPEAKER The final part of the Hammond organ sound was (and still is) the Leslie rotating speaker cabinet. The organ was hooked up via a multipin cable to the Leslie cabinet, which was about the width of a kitchen stove and two thirds as high as a refrigerator (although smaller models were built as well). The signal from the organ is fed to an amplifier which in turn feeds two speakers – a woofer, pointed downward towards the bottom of the Leslie cabinet and into a rotating baffle called a “rotor”, and a smaller hi-frequency speaker upward towards the top of the cabinet, into a rotating twin-horn assembly (looks like a propeller) called a “horn”.
LESLIE SPEAKER CABINET
Using a footswitch or switch connected to the organ itself, the player could vary the speed of the horn and rotors from slow to fast and back to slow. And the truth of the matter is that the Leslie cabinet (invented by a man named Don Leslie) was designed to keep the organ from sounding too static and boring. The first Hammond organ, the model A, was introduced in the 1930's by its inventor, an engineer named Laurens Hammond. Ironically Hammond didn't play the organ himself, as he wasn't a musician. The Hammond Model B was introduced in 1955, but was basically the same organ as the Hammond A, with a different cabinet. The Hammond B, in all its incarnations (B, B2, and B3) was followed by the Hammond C3, M3, L100, and others. However, it was the Hammond B3 that gained the most popularity and is still the most widely sought organ sound.
In the mid 1970's the last of the original Hammond B3's was built. Since then, a number of "B3 wanna-be's" or “clonewheel organs” have been designed, built and sold to musicians. These are all digitally-controlled keyboards, most with wood cabinetry that mimics the original B3's look. The first Hammond B3 soundalike was Korg's first CX3, introduced in the early 1980's. It was later discontinued but a "new" CX3 was introduced by Korg for the new millennium. Roland's first B3 wannabe was the VK7, and the Hammond-Suzuki company (owned by Suzuki) produced the XB and XK series or gans to address the demand for the B3 sound. Currently Hammond-Suzuki markets a “new B3” which looks exactly like the original B3 and uses digital modeling to reproduce the electromagnetic B3 tone.
A REAL B3… Has two 61 key keyboards, called “manuals”. Each manual is controlled by a row of nine drawbars, labeled 16’, 5 1/3’, 8’, 4’, 2 2/3’, 2’, 1 2/3’, 1 1/3’, and 1’. (see picture below).
Each manual’s drawbars are pulled out to varying degrees and in various combinations to produce different organ sounds.
The Motif XS would need nine elements per voice to allow all nine drawbars to be represented (plus an additional 4 to include keyclicks and percussion). Since the XS has “only” 8 elements, some B’s Knees voices include up to 8 drawbars but no voices include all 9. To conserve polyphony in Performance and Song/Pattern Mix modes, there are many B’s Knees voices which consist of just 2 to 4 elements. Thus, the voices in B’s Knees could be thought of as emulations of Hammond B3 “presets” featuring the drawbar settings appropriate for those presets.
TO LOAD THE VOICES:
FROM THE DOWNLOADED ZIP FILE TO USB DEVICE (JUMP DRIVE or FLASH DRIVE):
CAUTION: Before you load B’s Knees into your Motif XS, MAKE SURE you have backed up any data you want to save onto a USB storage medium (and your computer). Loading “B’s Knees” will overwrite the data that exists in the Voice and Performance User 3 banks. 1. Insert your USB device into your computer’s available USB slot. It’s icon should appear on your desktop. 2. Navigate to the “B’s Knees Motif XS” folder and double-click on it to open it. 3. Navigate to the folder called “B’s Knees XS ALL File” and double-click to open it. 4. Copy the file called “B’sKnees.X0A” to your USB device’s icon (by either dragging the file directly to the icon, or going to your file menu and choosing “Copy” and “To” and selecting the USB device as your destination). 5. When the file has copied completely to your USB device, properly eject the USB device and insert it in the slot labeled “TO DEVICE” on the rear panel of your Motif XS. You will see a screen message that says “Connecting to USB device…”. 6. Press the FILE button on the front panel of the Motif XS. Use the cursor buttons to move up to the top of the screen so that the “Device” field is highlighted and turns blue-green. If necessary, turn your jog wheel to the right until you see the name of your USB device in the field. This will indicate that your USB device has been selected. 7. Using the cursor down buttons, cursor down to the first named folder in the display and then turn the jog wheel to further move to the file called “B’sKnees.X0A”. The file name will highlight in blue-green. 8. Using the cursor buttons, cursor down to the field marked “Type” and make sure it is set to “all”. 9. Press SF2 “LOAD”. Then press the “YES” button on your XS. 10. The B’s Knees library will load 128 voices to your VOICE User 3 bank and 8 performances to your PERFORMANCE User 3 bank. 11. To select the first voice, press the “VOICE” button, then the User Bank 3 button, and then button A1 to begin.
FROM THE DOWNLOADED ZIP FILE TO USB CD DRIVE:
CAUTION: Before you load B’s Knees into your Motif XS, MAKE SURE you have backed up any data you want to save onto a USB storage medium (and your computer). Loading “B’s Knees” will overwrite the data that exists in the Voice and Performance User 3 banks. 1. Connect a USB CD-ROM drive to your Motif XS’ “To Device” slot located on the rear panel of the Motif XS. Power up the drive. You will see a message in the XS display that reads “Connecting to USB device…”. 2. Insert a blank CD in your computer’s CD drive. Its icon should appear on your desktop.. 3. Navigate to the folder called “B’s Knees XS ALL File” and double-click to open it. 4. Copy the file called “B’sKnees.X0A” to the CD (by either dragging the file directly to the icon, or going to your file menu and choosing “Copy” and “To” and selecting the CD as your destination). 5. When the file has copied completely to your CD, rename the CD to something you want (like “Motif XS stuff”), properly eject the it and insert it in the CD-ROM drive connected to your Motif XS. 6. Press the FILE button on the front panel of the Motif XS. Use the cursor buttons to move up to the top of the screen so that the “Device” field is highlighted and turns blue-green. If necessary, turn your jog wheel to the right until you see the name of your CD in the field. This will indicate that your CD has been selected.. 7. Using the cursor down buttons, cursor down to the first named folder in the display and then turn the jog wheel to further move to the file called “B’sKnees.X0A”. The file name will highlight in blue-green. 8. Using the cursor buttons, cursor down to the field marked “Type” and make sure it is set to “all”. 9. Press SF2 “LOAD”. Then press the “YES” button on your XS. 10. The B’s Knees library will load 128 voices to your VOICE User 3 bank and 8 performances to your PERFORMANCE User 3 bank. 11. To select the first voice, press the “VOICE” button, then User Bank 3 button, and then button A1 to begin.
IF YOU HAVE A MOTIF XS RACK: YOU MUST USE THE MOTIF XS EDITOR TO LOAD THE SOUNDS. TO MAKE SURE YOU HAVE CONNECTYED THE EDITOR TO THE RACK PROPERLY, CONSULT THE DOCUMENTATION THAT CAME WITH THE EDITOR. BELOW ARE EXCERPTS FROM THAT DOCUMENTATION: 1. Change the mode to the Voice mode by clicking the [Voice] indication (at the top left of the display). If the MOTIF-RACK XS has been connected to the computer properly and the MIDI Port (page 40) has been set properly, starting the MOTIF-RACK XS Editor will set the [ONLINE]/[OFFLINE] indication to [ONLINE], meaning that the settings of the MOTIF-RACK XS Editor and the MOTIF-RACK XS instrument are synchronized with each other. In this case, the Auto Sync window is called up automatically via this step 1, making step 2 is unnecessary. Go to step 3. 2. Click the [OFFLINE] to call up the Auto Sync window if the [ONLINE]/[OFFLINE] indication is set to [OFFLINE]. 3. On the Auto Sync window, set communication-related parameters such as Input Port, Output Port and Device Number in the Data Port section, then set the direction of Data Auto Synchronization (Global, Current and Voice) in the Auto Sync Setting section. When you want to use the settings on the MOTIF-RACK XS itself as starting data for editing, set the boxes of Global, Current and Voice in the Auto Sync Setting to on so that the data flows from the instrument to the computer. To use the settings on the MOTIF-RACK XS Editor as starting data, set both Global, Current and Voice to the opposite, so that the arrow indicates data flow from the computer to the keyboard. For details, see page 40. PROCEDURE FOR SELECTING AND LOADING THE SOUNDS IN “B’S KNEES” TO YOUR XS RACK:
1.Launch the XS Editor, either within Studio manager, or within Cubase if you are using a version of Cubase. Make sure your
connections are set up properly ( refer to the documentation for the XS Editor for further info on connection setup). 2. When you go to FILE > select IMPORT >. A screen pops-up that allows you to click on the Open Folder icon and browse your computer. On a Windows computer you set the "FILES OF TYPE" option so that you can search for files of type: "Motif XS All (*.x0a)" On a Mac computer you set the "ENABLE" option so that you can view "Motif XS All (*.x0a)" files.
Locate and select the file called “B’sKnees.X0A”, which is located within the “B’s Knees Motif XS ALL File” folder included in the download. 3. This will populate the left side of the IMPORT window with a list of the Voices within that ALL data file - which you can look at by "Category" (A.Piano, Keyboard, Organ, Guitar, etc) or by "Bank" (USER 1, USER 2, USER 3, DRUM USER) 4. You can then select the entire USER 3 folder, for example, on the left and select the USER 1 folder on the right of the screen (which represents their current internal USER bank... 5. Double click IMPORT and the Voices will be bulked to the target location. 6. The Motif XS and the Motif-Rack XS share System Exclusive ID, so you can bulk data between the two but in order to transfer PERFORMANCES it is not direct at all. There is not a PERFORMANCE mode as it is in the keyboard version... Libraries that contain Performances will not load the Performances directly, as there is no Performance mode on the XS Rack. Libraries that employ user arpeggios will not load arpeggios to the rack XS, as it is not capable of importing user arpeggios.
About the voices There are 128 voices and 8 performances in this soundbank. All but two voices are Hammond B3 recreations or B3 "soundalike" recreations (such as the Korg CX3 and Hammond XB2). The "H" section (voices 113 thru 128) contains a collection of "best of" voices from the other banks, with the difference that voices 113-127 have control of Leslie speed assigned to aftertouch. The last voice, H16 “No Leslie” does not have the Leslie effect, so that you may use it if you are running your Motif XS into an external rotary speaker cabinet.
SLIDER CONTROLS Some B’s Knees organ voices consist of 8 elements, most consist of fewer than 8 elements. Each element’s volume can be controlled via its corresponding slider. You can adjust the organ sound this way, similar to how you would move the drawbars on a real Hammond organ. CAUTION - MOVING SLIDERS TOO FAR UP MAY CAUSE THE SOUND TO "OVERLOAD" OR CLIP BECAUSE YOU ARE SETTING THE VOLUME OF THE UPPER DRAWBARS TOO HIGH! If a slider controls an element that contains a sound other than a drawbar (such as keyclick or percussion) then moving that slider up and down raises or lowers the level of that sound. To restore the original settings for a voice, re-select it. For example, if you are on voice A1, select voice A2, then select voice A1 again..
PITCH BEND, MOD WHEEL, RIBBON CONTROLLER The pitch bend controls the pitch of B’s Knees voices. The mod wheel controls Leslie speed (slow to fast or fast to slow). The ribbon controller is not assigned in the B’s Knees voices. ASSIGNABLE FUNCTION SWITCHES In most B’s Knees voices, Assignable Switch 1 controls vibrato/chorus on/off. Assignable Switch 2 will usually be inactive, except in the case of some “split” voices (left hand bass/upper manual voices, or double-manual split voices). All special assignments or notable voice characteristics will be included in the information for each voice.
In almost all cases the sound of the organ is fed first thru the amp simulator (Insertion A) where the amount of distortion drive can be adjusted and either tube or solid-state amplifier character can be added. Then the sound is fed from there to the rotary speaker effect (Insertion B). This simulates the routing in a "real-life" situation where the signal from the organ is first fed through a pre-amp/amp which then drives the Leslie speakers. In some voices there is no amp simulator engaged, and the effects routing is organ sound to rotary speaker first (Insertion B), then to the equalizer (Insertion A). The roatry speaker (Leslie) is always Insertion B.
ADJUSTING THE LESLIE EFFECT
You can even adjust the rotary speaker (Leslie) effect for each voice according to your personal taste. Here's how: 1. Call up a B’s Knees voice. 2. Press EDIT and F6 (EFFECT). 3. Press SF3 (InsertionB) to access the Leslie parameters page. On the left side of page 1 of this display, you will see: "Speed Control” - sets the default speed for the Leslie, either slow or fast. “Drive Rotor” – sets the depth of the rotor (rotating baffle in the lower portion of a Leslie which the “woofer” or low end speaker is fed to). “Drive Horn” – sets the depth of the horn (rotating speaker assembly which produces the “highs”) “Rotor/Horn Balance” – sets the balance between the highs and lows (the horn and the rotor). “Mic L-R Angle” - adjusts the angle of the "virtual microphones" used to pick up the Leslie cabinet's sound. Values closer to 0 produce a narrower image with more pronounced highs, values closer to 180 produce a wider, more diffuse image with more low frequency content. “Slow-Fast Time of R” – sets the rate at which the rotor goes from slow to fast speed. “Slow-Fast Time of H” – sets the rate at which the horn goes from slow to fast speed. On the right side of page 1 of this display you will see: “Rotor Speed Slow” - Rotor slow speed setting. “Horn Speed Slow” - Horn slow speed setting “Rotor Speed Fast “ - Rotor fast speed setting “Horn Speed Fast” - Horn fast speed setting. “EQ Low Frequency “ - adjusts the Leslie Equalizer's low frequency (bass) setting. “EQ Low Gain” - adjusts the Equalizer's low frequency amount. “EQ High Frequency” - adjusts the Equalizer's high-frequency (treble) setting. “EQ High Gain” - adjusts the equalizer's high frequency amount.
MORE NOTES: SPEEDS: Setting the horn or rotor speeds to values that ar e too high will result in rotary speaker sounds that are less authentic/realistic. EQ: In most cases it is better to reduce the EQ Low Gain setting to make a sound that is brighter. AMP/DISTORTION: In organ sounds that employ an amp simulator feeding the rotary speaker, setting the drive parameters too high can result in an ugly fuzzy, buzzy, or clipping sound. The amp simulator settings in B’s Knees have been carefully designed to provide optimal realism and overdrive tone – in most cases it is not necessary to adjust the amp simulator/distortion drive parameters.
L L I IS ST T O O F F V V O OI I C CE E S S PRESS VOICE BUTTON, THEN USER BANK 3 BUTTON, and then press A1 to begin.
A1 - THE B3 - Basic "all around" Hammond B3 sound with 7 drawbars and percussion. A2 - Leakage - Characteristic sound of Hammond with"leakage"noise caused by tonewheel/magnetic field interaction. A3 – Whistle Vibrato - Hammond sound with emphasized "whistle" caused by spinning horn and rotors in Leslie cabinet. A4 - 16-8-4-2 - Hammond organ with 16', 8', 4' and 2' drawbars pulled out. A5 - 16-4-2-1 - Organ with 16', 4', 2' and 1' drawbars out.
A6 – Chorus Vinrato 1 - Full organ sound with chorus vibrato switched on. Third harmonic percussion is engaged. A7 – Chorus Vibrato 2 - Same as A6 but without percussion. A8 – Purple Smoke - Classic organ sound from Deep Purple's "Smoke On The Water" song. Jon Lord, Deep Purple's organist, actually used a Hammond model M organ and fed Leslie cabinets driven by guitar amp heads. He had the Leslie "braked", so the rotors wouldn't spin unless he kicked the Leslie into high speed. In this voice the Leslie is set to a very slow speed but not entirely stopped. A9 - Thank You - organ sound from Led Zeppelin's "Thank You" song on their second album, Led Zeppelin II . A10 – Ladies’ Man - "Ladeez, if any of you out there are not too skanky and weigh less than three hundred pounds…" if you remember that comedy bit from Saturday Night Live, this was the type of organ sound that accompanied the bit. It's actually based on the organ sound from Booker T.'s version of "Green Onions". element 4 = percussion level; element 5 = note-on keyclick level; element 6 = note-off keyclick level. A11 - Pale Shade - Organ sound similar to the one heard on Procol Harum's classic rock hit, "A Whiter Shade of Pale". 8-drawbar (8 element) sound. A12 – Tube Drive 1 - Hammond B3 thru slightly overdriven, gritty sounding Leslie. A13 - GimmeSome - Heavily distorted Hammond organ sound from "Gimme Some Lovin" the old Spencer Davis Group hit (note: Steve Winwood sang the lead). Quite possibly the most wildly distorted Hammond organ sound ever heard on a record.
A14- Green Eyes - Percussion-heavy sound from Sugarloaf's hit, "Green-Eyed Lady". Plonk single bass notes, lower the first drawbar amount and turn up the reverb for the most authentic recreation of the sound. element 6 = note-on keyclick level; element 7 = note-off keyclick level; element 8 = percussion level. A15 - Jazz Fast - Four-drawbar jazz organ sound with Leslie set to fast, no percussion. A16 - Jazz Slow - Similar to Jazz Fast but with slow Leslie at default. B1 - Yes Organ - Not Rick Wakeman's sound - Tony Kaye's sound. Tony was Yes' first keyboardist, and it's quite possible that his organ sound was more distinctive than Rick's. Thin on the low end, unusually heavy on the overdrive, it was most likely the kind of organ sound achieved by pulling one of the tubes out of the Leslie's power amp section which caused heavy distortion at a lower volume (it also shortened the life of the remaining power amp tubes). B2 - ELP C3 1 - Hammond C3 organ sound similar to the one used by Keith Emerson on "Tarkus" - percussion heavy, overdriven,somewhat less vibrato and reduced volume on upper drawbars. B3 - ELP C3 2 - Emerson's C3 sound with upper drawbars added back in, slightly less percussion, heavy chorus/vibrato and a little less overdrive. B4 - ELP C3 3 - ELP C3 sound with no vibrato/chorus and no percussion, similar to diapason church organ setting. B05 - Burn Marks - Old school Hammond players remember that back in the day, you hadn't paid your dues unless your B3 had burn marks on the cabinet top caused by placing your cigarettes there while you tore into a slammin' solo. The more burn marks, the more dues you had paid - kind of like the Old West gunfighters belts with notches for each man they gunned down.
Wheezing, whirring, noisy - that was the old smoky blues-club Hammond sound, recreated here. B6 – Burn Marks 2 - Variation on Burn Marks, different drawbar and percussion settings and amp/Leslie tone. B7 – Burn Marks 3 - A third variation on the Burn Marks voice. B8 - New CX3 1 - Around the turn of the millennium, Korg released their updated CX3 organ. Their first CX3, which was marketed for a few years in the 80's was the first Hammond organ soundalike (I can't count Crumar's T1 as sounding anything remotely like a Hammond, sorry). The "new" CX3 sports a lot of improvements in the sound, physical modeling of the Hammond tonewheels and Leslie effect, more programmability and a larger screen than the original CX3. B9 - New CX3 2 - Variation on the sound of A24 organ. B10 - Purple Hush - Organ sound from Deep Purple's first hit "Hush". B11 - 80's CX3 - Sound of Korg's first CX3 introduced in the 1980's. The overdrive was somewhat less than authentic, with a buzzy compressed quality, and that sound is reproduced here. B12 - Zombie B - Plinky percussive organ sound from the Zombies' hit "Time of The Season". B13 - Keyclick 1 - B3 with heavy "keyclick" sound, which was caused by dirty key contacts. Deemed undesirable at first, it fell into favor with Hammond jazz organists and became part of the classic Hammond "vibe". element 5 = percussion level; element 6 = note-on keyclick level; element 7 = note-off keyclick level. B14 - Keyclik 2 - Variation on B13. B15 - Keyclik 3 - Variation on B13.
B16 - Stormy 1 - Basically a vibrato Hammond organ sound, with just the 16' and 1'3/5 drawbars pulled out. For those slow, "Stormy Monday Blues". 8-drawbar voice. C1 - Stormy 2 - Same as Stormy 1 but with no vibrato. 8-drawbar voice. C2 - XK 2 - Recreation of the Hammond Suzuki company's XK 2 organ sound. 7 drawbars and percussion. C3 - Theater 1 - Full drawbar sound with no percussion and vibrato switched on. Think "church", cleaner tonewheel sound. C4 - Theater 2 - Variation on C03. C5 - Wedding - Hammond "wedding" church organ sound, with no vibrato or Leslie. C6 - Tonewheels - "Unstable" Hammond tonewheels sound. If the voltage fluctuated (either at the AC circuit or within the Hammond circuitry itself) the tonewheels would spin at a fluctuating rate and cause a sound similar to this. C7 - Leslie Stopped - Sound of Hammond through "braked" Leslie, with the horn and rotor not stationary. Savvy Hammond players could change the tone of the Hammond simply by releasing the Leslie brake for a very brief moment, then stopping it again, then releasing it again, then quickly stopping it again. This put the hor n and rotors in different physical positions. You can simulate this by pushing the mod wheel forward VERY briefly and IMMEDIATELY returning it to the bottom position. The Leslie rotors will only move a "little bit" and then stop in a different position. This type of sound is favored by Joey DeFrancesco and other jazz organists. C8 - Stormy 3 - Variation on Stormy 2 (C02)with Leslie set to fast.
C9 – Double Manual 1 - The Hammond B3 has two keyboard manuals, with two sets of drawbars, one set controlling the upper manual, and one set controlling the lower. Thus on the Hammond you can set the lower manual for a different sound for comping, and the upper manual a more cutting sound for solo work, or vice versa. This voice recreates the "double manual" setup of the B3, with the split at C3 on the keyboard - lower manual to the left of C3, upper manual from C3 on up. Assgn. Switch 1 = chorus/vibrato for lower manual; Assgn Switch 2 = chorus/vibrato for upper manual. C10 – Double Manual 2 - Variation on C09. Assgn. Switch 1 = chorus/vibrato for lower manual. C11 – Double Manual 3 - Another variation on C09. Assgn. Switch 1 = chorus/vibrato for lower manual; Assgn Switch 2 = chorus/vibrato for upper manual. C12 - Bass Walk 1 - Split Hammond organ sound with bass notes in left hand below C3. Assgn Switch 1 = chorus/vibrato for upper manual. C13 - Bass Walk 2 - Bass/organ split with different drawbar sound on the right. Assgn Switch 1 = chorus/vibrato for upper manual. C14 - Bass Walk 3 - Variation of bass/organ sound. Assgn Switch 1 = chorus/vibrato for upper manual C15 - Bass Walk 4 - Variation of bass/organ sound Assgn Switch 1 = chorus/vibrato for upper manual
C16 - Bass Walk 5 - Variation of bass/organ sound. Assgn Switch 1 = chorus/vibrato for upper manual D1 - Shutdown - The Hammond had two motors - one to start it up (like cranking the engine on an old car) and one to keep it running and the tonewheels spinning. If you shut the run motor off, the sound died away and descended in pitch, rather than just abruptly cutting off. The result was the kind of sound recreated here. D2 - Flute Vibrato - Flute tone (Single 8' drawbar out) with vibrato. The Wallflowers song "One Headlight" features a Hammond with this kind of setting. D3 - Flute Non-Vibrato - Similar to D02 but without vibrato. D4 - Tibia 8' - Hammond "church" organ drawbar setting used in place of Tibia "tab" which was found on early pipe organs. D5 - Diapason - Hammond "church" organ setting used in place of "Diapason" tab setting on pipe organ. D6 - Clarinet - Hammond "clarinet" drawbar setting. D7 - Full Tibias - Full tibia organ setting for church. D8 - Black Magic - Hammond organ sound from Santana's classic hit "Black Magic Woman" which was originally recorded by Fleetwood Mac. Gregg Rollie was Santana's organist at the time this song was recorded by the band. D9 - I'm A Believer - The organ sound from the Monkees hit song "I'm A Believer". Many believe that it was a cheezy plastic combo organ on the record, but it was in fact a Hammond B3. D10 - PhoneOrgan - Thin sound of Hammond with only the upper drawbars out. D11 - *-*-5-2 - Another (upper drawbars only" Hammond sound.
D12 - Ringmod 1 - Ring modulated "effect" organ sound similar to the one found on Roland's VK7 organ. D13 – Ringmod 2 - variation on D12. D14 - Ballpark - Heavy vibrato "baseball park" organ. D15 –Vox Jaguar - Yeah, baby, yeah!! Cheezy, buzzy, a big part of the sound of Paul Revere and The Raiders, the Dave Clark Five, and other British Invasion groups of the 60's. It reappeared with a vengeance on the Austin Powers soundtracks. (see picture below).
D16 – Elka Panther - The Panther was built by an Italian company and was designed to compete with the Vox Jaguar. It was r ed shiny plastic, same color as the Vox organ, with stainless steel tubular legs. The sound was closer to a Vox continental, with more overtones and a deeper fundamental than the Vox Jaguar. How do I know this? I had one back in the late 60's, and I'm sorry I let it go. (see picture below).
E1 - 2ndPerc - Basic Hammond organ sound with 2nd harmonic percussion instead of third harmonic percussion. E2 – James Gang - Organ sound heard on Joe Walsh and the James Gang song "Tend My Garden", from their James Gang Rides Again album. The sound was similar to Tony Kaye's early Yes organ sound, with very heavy overdrive and a lot of grit. Reliable sources tell me that Joe Walsh achieved the sound by pulling one of the power amp tubes out of the Leslie, resulting in a heavier distortion at a lower volume. E3 - 16-5-2-1 - Specific Hammond drawbar settings sound. E4 - 16-8-2-1 - Another drawbar setting. E5 - 16-5-2-2 - Yet another Hammond drawbar setting. E6 – Purple Truckin’ - Sound similar to Jon Lord's Hammond organ on "Space Truckin" from Deep Purple's Machine Head album. E7 - Ladies Two - The Saturday Night Live organ sound is back again with a slightly different flavor. Element 4 = percussion; element 5 = note-on keyclick level; element 6 = note-off keyclick level. E8 - Foreignerr - Classic rock organ sound from "I Wanna Know What Love Is" on Foreigner's album Foreigner 4.
E9 - Styx - Organ sound from Styx's classic rock song "Blue Collar Man". E10 - Jazz Fast2 - Jazz organ sound with fast Leslie, variation on A15. E11 - Jazz Slow2 - Same as E10 but with slow Leslie. E12 - Jazz Fast3 - Variation on E10, fast Leslie. E13 - Jazz Slow3 - Same as E12 but with slow Leslie. E14 – Burn Marks 4 - The smoky, gritty, wheezing blues club Hammond with different settings, fast Leslie. E15 – BurnMarks 5 - Variation of E14. E16 – BurnMarks 6 - Variation of E14. F1 – BurnMarks 7 - Variation of E14. F2 - XK2 2 - Variation of Hammond Suzuki XK 2 organ sound. 7 drawbars and percussion. F3 - *-5-4+Prc - Upper drawbars plus percussion, lower drawbars pushed in. F4 – Full Drive - Full drawbar Hammond organ with heavy tube overdrive and no percussion. F5 – Full Drive 2 - Variation on F04. F6 - 16-5**+Prc - 16' and 5' drawbars out, with percussion. F7 - Ballpark 2 - Another version of the "baseball" organ sound. F8 – Super Whistle - 16' and 2' drawbars out.
F9 - Bass Walk 6 - Another version of bass/organ split voice. Organ with Leslie on fast. Assgn. Switch 1 = chorus/vibrato for upper manual. F10 - Bass Walk 7 - Variation on F09. Assgn. Switch 1 = chorus/vibrato for upper manual. F11 - Stormy 4 - Another version of the bluesy "Stormy" organ sound. F12 - Theater 3 - Another full drawbar, cleaner church organ sound with vibrato. F13 - Tonewheels 2 - Variation of "Tonewheels" voice, typical of sound caused by fluctuating AC voltage. F14 - 8-4-2-2 - Hammond drawbar setting. F15 - 8-5-2-2 - Hammond drawbar setting. F16 - 8-4-2-1 - Hammond drawbar setting. G1 - 16-*-*-1 - Hammond drawbar setting. G2 – Double Manual 4 - Split organ sound, recreating "double manual" or "dual keyboard" settings. Assgn. Switch 1 = chorus/vibrato for lower manual. G3 – Double Manual 5 - Dual manual organ sound variation. Assgn. Switch 1 = chorus/vibrato for lower manual. Assgn Switch 2 = chorus/vibrato for upper manual. G4 – Double Manual 6 - Dual manual organ sound variation. Assgn. Switch 1 = chorus/vibrato for lower manual. Assgn Switch 2 = chorus/vibrato for upper manual. G5 – Chorus Vibrato 3 - Chorus/vibrato organ sound variation. G6 – Chorus Vibrato 4 - Chorus/vibrato organ sound variation. G7 - Pastoral - "Gentle" or "peaceful" organ sound for interludes.
G8 – Thru Guitar Amp - Hammond B3 thru guitar amp instead of Leslie. Yes, back in the day, it was done often in heavy rock bands. Usually the amp of choice was a Marshall or Hiwatt stack. G9 – Thru Guitar Amp 2 - Organ through guitar amp variation. G10 – Thru Guitar Amp 3- Organ through guitar amp variation. G11 - Vintage - Lower drawbars organ sound with vintage tube warmth. G12 - 80's CX3 2 - Vintage Korg CX3 sound with vibrato. G13 - Arrgent - The Hammond organ sound from the classic 60's Argent rock hit "Hold Your Head Up". G14 - Throaty - Warm, dark, tube-driven Hammond sound with extra grit. G15 - ELP C3 4 - Variation of Keith Emerson's C3 vibrato sound. G16 - Leakage 2 - Variation of classic Hammond "leakage" sound, characterized by metallic noise created from interaction of tonewheels and magnetic fields. H1 – THE B3 (AT) - Same as A1, but with Leslie speed controlled by aftertouch (LEAN on those keys..) H2 - 16-4-2-1 (AT) - Same as A5 with Leslie on aftertouch control. H3 – Pale Shade (AT) - Same as A11 with Leslie on aftertouch control. H4 – Gimme Some (AT) - Same as A13 with Leslie on aftertouch control. H5 – Green Eyes (AT) - Same as A14 with Leslie on aftertouch control.
H6 - Jazz Slow (AT) - Same as A16 with Leslie on aftertouch control. H7 - Zombie B (AT) - Same as B12 with Leslie on aftertouch control. H8 - Keyclick 1 (AT) - Same as B13 with Leslie on aftertouch control. H9 - Keyclick 2 (AT) - Same as B14 with Leslie on aftertouch control. H10 – Keyclick 3 (AT) - Same as B15 with Leslie on aftertouch control. H11 - Stormy 2 (AT) - Same as C1 with Leslie on aftertouch control. H12 – Bass Walk 1 (AT) - Same as C12 with Leslie on aftertouch control. H13 – Bass Walk 2 (AT)- Same as C13 with Leslie on aftertouch control. H14 – FluteNon-Vibrato(AT) - Same as D2 with Leslie on aftertouch control. H15 - 2nd Perc (AT) - Same as E1 with Leslie on aftertouch control. H16 - No Leslie - Hammond organ sound with no Leslie effect. Use this sound if you are running your Motifs outputs into a Leslie simulator like Voce's Spin or any Motion Sound product, etc.
P E ER RF F O OR R M M A A N NC C E ES S 1- 8 8 There are 8 demonstration Performances included in the “B’s Knees” library. These are simple organ duo/trio performances set up with a drum backing, left hand bass, and organ sound on the right. The performances can be accessed by the following method:
1. Press the PERFORM button on your Motif XS. 2. Press the USER 3 bank button and then select A1.
A1 – Be-Bop Duo Be-bop jazz organ performance with drumkit, left hand bass and organ. A2 – Shortcakes Funk organ performance with drumkit, left hand bass and organ. A3 - Movin’ Driving organ performance with drumkit, left hand bass and organ. A4 – 6/8 Time Slow blues shuffle organ performance. A5 – Rock Purple Classic rock organ performance (think Deep Purple). A6 – Funkin’ It Funky organ performance with drumkit, left hand bass and olrgan. A7 – SmoothJamm Straight-ahead organ performance. A8 – ReggaeHouse Reggae with a house beat organ performance.
