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EVB3 User Manual

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1. istortion Type Jg istortion Drive Jg istortion Tone CH ick On Level ick Off Level e User Manual Version 1 evb3 65 8 MIDI Controller Assignments Controller Number MIDI Mode 0 Parameter Name Balance 115 Main Volume 116 Lower Volume 11177 Pedal Volume Rotor Fast Rate 118 Rotor Fast Rate Only the controller assignments 80 to 82 differ when MIDI Mode is set to 1 This setting matches the controller mapping of Hammond XB series organs The other controllers remain as described above Switch MIDI Data Reduction off while recording these data from an XB Series organ Options gt Song Settings gt Recording Settings Controller Number MIDI Mode 1 Drawbar Assignment 80 All Upper Drawbars 81 All Lower Drawbars 82 Pedal Drawbars Scanner Vibrato Bass Filter Emagic 66 EVB3 Y Q gt 9 Factory Settings 9 Factory Settings Type Setting Name suebio 4204 Hush Hallelujah Child in Time Fireball Smoke on the Water Keep on Movin Might j t y Life Deep amp Purple Grunge Organ Rock Church Tenderness Whiter Shde Winwood clean Winwood heavy Black Magic Evil Ways Jingo Morph Rotor Speed Chorale Tremolo Chorale Tremolo Brake Chorale Brake Brake Chorale Tremolo Chorale Tremolo Chorale Tremolo Brake Tremolo Chorale Brake Tremolo Chorale Chorale Tremolo Tremolo Chora Chorale Tremo Chorale Tremo e o
2. Please note The parameters Lower Volume and Pedal Volume are discussed in the Relative Volumes Upper Lower Pedal section on page 30 The parameter Perc is discussed in the Percussion section on page 32 3 7 1 Max Wheels Calculating emulating all tone wheel generators consumes considerable CPU processing power A reduction of this param eter value reduces the EVB3 s hunger for processing resources Note that this will diminish some overtones so you should not reduce this value if you re after an ultra realistic simulation 3 7 2 Tonal Balance Tonal Balance changes the mix relationship of the higher lower sounding tone wheels Positive values result in a lighter and brighter sound Experiment with different Tonal Balance and Equalizer settings See the Equa izer section on page 44 for further information 3 7 3 Shape While the Hammond s tone generators produce pure sine waves despite technical artefacts other organs deliver distorted waveforms You can produce sounds resembling those of Farfisa Solina or Yamaha organs with the Shape parameters You can subtly alter the waveform of the sounds emanating from the tonewheel generator with the Shape parameter Moving the parameter to the right will make the tone brighter and louder and moving it to left will make it duller and softer Emagic 36 EVB3 3 The EVB3 Parameters Note that the Shape parameter is placed after the filters which follow the s
3. 20 2 4 1 The Plug in Window 20 2 4 2 Recommended MIDI Setup 23 2 4 8 Transposition Octave Range 26 2454 IMID Mode e a o ges cc eg Re 27 The EVB3 Parameters 28 NIC EEN 29 3 141 Pedal Drawbars ee E e m e RATER 29 Volume vice EE LR d sex 30 3 2 1 Relative Volumes Upper Lower Pedal 30 3 2 2 Volume Control and Expression Pedal 30 Tune ee ce utt et qe et n m es 31 User Manual Version 1 5 3 4 3 5 3 6 3 7 3 8 3 9 3 10 3 11 3 12 Table of Contents Scanner Vibrato 0 31 Percussioni e il ede ute AR eco ciem ate 32 Preset Keys and Morphing 33 3 6 1 OFDhiFig 3 uie CLE A deba oe dedii 35 Organo o db dae 36 3 7 1 ax Wheelsz eosdem volano de ahi ALLA 36 347 2 A A A 36 3 7 3 SHAD Oeste as cede tenero cott dee es sities exeo dett 36 SA BASE sut ee tee eth god 37 35 255 Ultra Bas act adve ene ce dr ala 37 CONGITION 0 0 e ee a ae ay 37 3 871 DrawBanpbeak ct ata iaa tal 38 329 2 leakage voc ea a pat ete x 38 3 18 37 Crosstalk cae cheat eine Sut e y ANO y adito 38 3 8 4 Random EM xu mua pde ER wx eo 4 38 3 8 5 Filten Age sod estem RR PELIS EE 39 Clicle aure eto EN 39 PICCHI o borne d Bh AEA pie Mie Ae eet d at rer E EE 40 SOA RE EE EE od 40 3 19 25 Waitt 2 alata laziale 41 3 10 3 Pitch Bender Brake Effect 42 SUStalni stia ite Ei e Mt DLL i 42 Effects cR eer et o 43 3 12 1 Effect Chain and
4. mental is completely missing If we didn t hear this way it would make listening to music with a kitchen radio impossible Its speaker will never play back the fundamental of the bass line as this frequency is far below the range that the speaker can transmit If you pull out all registers of the drawbar organ except for the fundamental 16 you ll still perceive the same pitch The sound becomes thinner with less bass and less warmth but the pitch remains the same Setting drawbar registrations often involves this psychoacoustic phenomenon In the lower octaves mixing the Band 5 3 sine drawbars creates the illusion of a 16 sound although the frequency is missing Old pipe organs also make use of the residual effect by combining two smaller pipes eliminating the need for long heavy air hungry and expensive giant pipes This tradition is continued in modern organs and is the reason for arranging the BIS under 8 The 51 tends to create the illu sion of a pitch that is one octave lower than 8 Emagic 58 EVB3 6 A Short Hammond Organ Story e V b 3 6 A Short Hammond Organ Story Three inventions inspired Laurens Hammond 1895 1973 a manufacturer of electric clocks to construct and market a compact electro mechanical organ with tone wheel sound generation The Telharmonium by Thaddeus Cahill was the musical inspiration Henry Ford s mass production methods and the domestic synchron clock motor were the other
5. 77e classic partner for the Hammond B3 organ Bity is reminiscent of a bluesy guitar amp Nasty delivers hard distortions and is well suited for very aggressive sounds The Tone control only affects the distorted portion of the sound while the dry signal portion remains unaffected This allows for very warm overdriven sounds that won t become scratchy if you try to get more treble out of the instrument Drive controls the amount of overdrive distortion The output level is automatically compensated for so there s no need for another master volume control adjustment facility User Manual Version 1 evb3 47 3 The EVB3 Parameters 3 12 6 Rotor Cabinet The Hammond story can t be fully told without a chapter on the rotor sound cabinets manufactured by Leslie In fact playing the B3 organ without a rotor cabinet is viewed as a special effect these days The EVB3 s rotor cabinet section simulates not only the speaker cabinet itself but also the micro phones which pick up the sound Cabinet There are four settings available off In the off setting there s no rotor effect at all and you ll hear the direct output signal of the organ and or the other effects There s an alternative to switching the rotor effect off in the Brake mode the speakers don t rotate but are still picked up by the simulated microphones in a random position see Rotor Speed section on page 49 Wood The Wood setting mimics a
6. Chorale Tremolo o o Chorale Tremo Upper Manual Solo and Fills Fills Intro Solo Chords Solo Chord Riff Chords Intro Riff Chords Rock style Solo Chords Chords Chords Intro Solo Chords Chords Riff Riff Chords Intro Solo Chords Solo Chord Riff Chords Solo Lower Manual Groove Riff Chords Chords Chord Rhythm add Chords Chords Bass Chords Chords 5th Chords Bass Chords Chords Bass Rotor Control Morph Wah Whee Whee Whee Whee Whee Whee Whee Whee Whee Whee Whee Bass Line Chords Whee Chords Chords Chords Chords Chords Whee Whee Whee Whee Wheel CC 4 User Manual Version 1 67 9 Factory Settings Type Setting Name 1uo sueBuQo oy suebio dog Oye como va Samba Pa Ti Morph Steppenwolf Animals Ekseption 1 Ekseption 2 Emserson in Concert It s NICE Let it B Preston Little Help THE Doors 1 THE Doors 2 THE Doors 3 TOTO Morph Raggae 1 Raggae 2 Raggae 3 GC Station Early Bird House Organ Rotor Speed Chora Chora Chora Brake Chora Chora Chora Chora Chora Chora Brake Brake Tremo Chora Tremo Tremo Tremo Chora Chora Brake e Tremolo e Tremolo e Tremolo e Tremo e Tremo e Tremo e Tremo e Tremo eee ere MO e Tremo o Chorale e Tremolo o Brake Chorale o Brake Chorale o Br
7. Steve Winwood Joey DeFrancesco and Barbara Dennerlein In addition to the B3 there are a number of smaller Hammond instruments known as the spinet series M3 M100 L100 T100 Bigger console models many of which were designed to suit the needs of American U S A churches or theatres H100 X66 X77 E100 R100 G 100 were also manufac tured The production of electro mechanical organs ceased in 1974 Thereafter Hammond built fully electronic organs Today people at Hammond Suzuki are more conscious of their glorious tradition and produce fine electronic drawbar organs In 2002 they even introduced a new digital B3 model which mimics the design and functions of the classic B3 except for the weight The new B3 utilizes a real mechanical rotor speaker cabinet 6 1 Tonewheel Sound Generation Tonewheel sound generation resembles that of a siren Of course there s no air being blown through the holes of a revolving wheel Rather an electro magnetic pickup much like a guitar pickup is used A notched metal wheel called a tone wheel revolves at the end of a magnetized rod The teeth of the wheel cause variations in the magnetic field inducing an electrical voltage This voltage tone is then filtered sent through the manuals ampli fied has vibrato and expression applied to it and is then ampli fied Emagic 60 EVB3 6 A Short Hammond Organ Story A long drive shaft is driven by an AC synch
8. While moving the slider the Tremolo rotation speed is displayed in Hertz Acc Dec Scale The Leslie motors have to physically accelerate and decelerate the speaker horns in the cabinets and their power to do so is limited Acc Dec Scale determines the speed at which the motors can accelerate the rotors time it takes to get the rotors up to a determined speed and the length of time it takes for them to slow down If the slider is set to its far left position you can switch to the preset speed immediately If you drag the slider to the right speed changes take more time to occur In the default position of 1 which like any default in Logic can be set by clicking the slider while holding E Mac or respectively the behavior is Leslie like Emagic 50 EVB3 3 The EVB3 Parameters Horn Deflector If you look inside a Leslie cabinet you ll see a double horn with a deflector at the horn mouth This deflector makes the Leslie sound Some people however removed it to alter the Leslie sound as removal of the deflector increases amplitude modulation and decreases frequency modulation This param eter allows you to switch the deflectors on and off without needing to order spare deflectors Mic Distance Mic Angle The Mic Angle slider defines the stereo image by changing the angle of the simulated microphones An angle of 0 results in a mono sound while an angle of 180 causes phase cancellations Experienced so
9. of the key contacts You may adjust the intensity of these peculiarities to meet your tastes This flexibility allows for flawlessly clean through to dirty and raunchy sounds and everything in between Further quirks of the original were the robbing of sine choir voices multi plexing and the specific repetition behaviour No need to tell you that the EVB3 emulates this too The EVB3 simulates three different types of Leslie sound cabinets with rotating speakers with and without deflectors Beyond this three tube overdrives with different tonal char acteristics an equalizer a wah wah and a reverberation effect are also incorporated You may freely define the signal flow of these effects as you wish You can also set the stereo intensity of the microphone position as desired If you re familiar with the original B3 you ll remember the inverted black keys of the lowest octave on each manual These inverted keys are switches that recall preset registrations a preset of your drawbar settings This feature is emulated by the EVB3 as well but has been improved significantly given that you won t need a screwdriver to change the registration settings of your presets A morphing feature allows seamless crossfades between two registrations without the need for an external fader box The EVB3 can be played with two manuals and a MIDI pedalboard if you wish and own these devices It also offers functions which allow you to play
10. results in a pure sine tone Mixing harmonic sine tones results in more complex spectra and is known as additive synthesis Organs even acoustic pipe organs can be regarded as addi tive synthesizers There are however several limitations that need to be considered before viewing the instrument in this way These limitations on the other hand constitute the char acter of any real musical instrument loaded with charm The naming of the drawbars is derived from the length of organ pipes measured in feet This naming convention is still used with electronic musical instruments Halving the length of a pipe doubles its frequency Doubling the frequency means nothing other than one octave up The lowest register 16 far left brown drawbar and the higher octaves 8 4 2 and 1 white drawbars can be freely mixed in any combination 16 is commonly described as the sub octave When we re regarding this register as the funda mental the octave above 8 is the second partial 4 the fourth 2 the eighth and 1 the sixteenth partial Emagic 56 EVB3 5 Additive Synthesis with Drawbars With the 51 register the second brown drawbar you can add the third partial This is the fifth above the 8 Basically the drawbars are arranged by pitch but there 1s however an excep tion The second drawbar 51 5 is sounding a fifth higher than the third drawbar See the Residual Effect section on page 58 for an e
11. Note that the treble portion of the organ is boosted slightly if any vibrato setting is used This treble boost is maintained in the C0 setting User Manual Version 1 31 3 The EVB3 Parameters The Upper and Lower buttons allow you to switch the scanner vibrato and its associated treble boost on off individually for the Upper and Lower manual As the B3 mixes the bass register Pedal with the Lower manual the Pedal register is affected by the Lower manual s scanner vibrato settings This side effect reflects the technical limitations of the original B3 Check out the chorus and vibrato effects and compare them with the sound of the rotor cabinet simulation The organ s chorus sounds different to modern chorus effects such as Logic s chorus plug in Many organ players rarely use the scanner vibrato preferring to work with a Leslie in isolation Others like B 3 virtuoso Brian Auger prefer the integrated organ vibrato over the Leslie 3 5 Percussion Percussion is only available for the Upper manual as it does on an original B3 The percussion of an electro mechanical organ is polyphonic but is only re triggered after all keys have been released If you release all keys new notes or chords will sound with percussion If you play legato or sustain other notes on the Upper manual no percussion will be audible On the original B3 percussion is only available if the B preset key is selected see Preset K
12. all registers Upper Lower and Pedal with a single manual master keyboard The Scanner Vibrato Rotor and Tube Distortion effects are also available in standalone plug in form allowing them to be used as Insert or Bus effects on other Logic tracks We wish you a great deal of fun and success with your new organ Your EMAGIC Team Emagic 10 EVB3 2 Getting Started e V b 3 2 Getting Started 2 1 What the Package Includes Your EVB 3 package contains the following components the Emagic Software CD this manual a registration card a card containing two stickers Please complete the registration card as soon as possible and send it to the Emagic distributor in your country or territory Upon registration you will receive the permanent license code for your EVB3 Once registered you will have access to e a regular update and support service via the Internet http www emagic de e support via our Hotline in the USA phone 1 530 477 1050 fax 1 530 477 1052 in Germany phone 49 4101 495 110 in other countries please consult the Emagic distributor in your country or territory User Manual Version 1 11 2 Getting Started 2 2 Quick Start 2 2 1 Installation Although the EVB3 is integrated into Logic s program code version 5 3 or higher we recommend that you run the Setup Installation procedure by e Inserting the EVB3 CD ROM into your computer s CD ROM DVD drive e This should automatical
13. appropriate folder It is strongly recommended that you do not attempt to change the Plug in Settings gt EVB3 folder structure Within the EVB3 folder you are however free to sort your settings into sub folders This folder structure is reflected in a hierarchical menu shown each time you load a plug in setting As with all other plug ins in Logic the EVB3 parameter changes are also saved with the song When the song is re opened all stored parameter changes will be recalled Load Setting e To load an EVB3 Setting click on the Settings flip menu found above the EVB3 panel e Scroll to the Load Setting option In the ensuing dialog window browse to and select the name of the Setting that you wish to load The Setting will then load User Manual Version 1 21 2 Getting Started Note that if no Setting preset is loaded a default set of parameters will be used for the EVB3 Tip You can also make use of the Next Previous Plug In Setting Key Commands These are not set by default so you will need to assign them Once assigned you can simply press the appropriate Key Command to step forwards backwards through your EVB3 Plug in Settings Switching the Contents of the Plug in Window You can reassign any open plug in window in two different ways via the two flip menus to the right of the Settings flip menu e Using the Upper flip menu Track 16 in the diagram you can swit
14. factors The Telharmonium was the first musical instrument that made use of electromechanical sound generation techniques In the year 1900 its man sized tone wheel generators filled a two storey building in New York For a short period around this time subscribers could order Telharmonium music over the New York telephone network the streaming audio system of the time The only amplification tool was the telephone s mechanical diaphragm as a proper tube amplifer and accept able speakers had not yet been invented The Telharmonium was a commercial flop but its historical status as the predecessor of modern electronic musical instruments is undeniable The Telharmonium also introduced the principles of electronic additive synthesis see Additive Synthesis with Drawbars section on page 56 Laurens Hammond began producing organs in 1935 in Chicago Illinois making use of the same sound generation method The differences were much smaller tone generators and fewer registers The patent for his model A organ dates from 1934 Hammond also holds the patent for the electro mechanical spring reverb still found in countless guitar amplifiers today User Manual Version 1 59 6 A Short Hammond Organ Story The Hammond B3 was manufactured between 1955 and 1974 Itis the Hammond model preferred by jazz and rock organ players such as Fats Waller Wild Bill Davis Brother Jack McDuff Jimmy Smith Keith Emerson Jon Lord Brian Auger
15. on channel 1 Selection of different MIDI channels may be necessary in a live perfor mance situation particularly if you need to change the MIDI transmis sion channel of your master keyboard in order to play other sound generators Keyboard Ranges of the Upper and Lower Manual The lowest playable MIDI note is 36 C1 The range of the preset keys is note 24 to 35 CO to B0 128 notes are defined in the MIDI specification but even the largest master keyboards are only equipped with 88 keys just like a concert grand piano One example If your master keyboard ranges from C to c 5 octaves 61 keys and the sequence and instruments parame ters of Logic are set to zero Transpos 0 you can play the entire keyboard range 1 e every possible note of the EVB3 The preset registration keys are positioned one octave Lower If you set Transpos 12 you can use the lowest octave to switch between presets Keyboard Split The EVB3 can also be played perfectly with a single MIDI keyboard one manual that is only capable of transmitting on one MIDI send channel You can split the keyboard in order to play Upper Lower and Pedal on different keyboard zones In the parameter field in the bottom center of the GUI set Keyboard Mode Split sul split C 3 leLr split C 4 EDI User Manual Version 1 evb3 25 2 Getting Started Set the keyboard zones with the UL Split and LP Split par
16. section on page 32 Disabling MIDI Preset Switching You can disable the switching of presets with MIDI notes 24 to 35 thus avoiding any problems that may arise from transposi tions To do so Disable the MIDI To Preset Key Cancel Key Registering while Playing The lowest preset key C is the cancel key if you depress it all drawbars are moved to their minimum setting The other 11 keys from C to B recall registrations You can edit recalled presets immediately The preset memorizes these alterations instantaneously with no further action required This means that if you recall a new preset the former preset memorizes the drawbar settings at the time the new preset was recalled If you hold the cancel key C on your master keyboard with the small finger of your left hand and sustain a chord with your right hand you can trigger the chord with different registra tions by pressing the preset keys with the other fingers of your left hand This results in an organ specific gater type effect which wouldn t be possible with the right hand alone Emagic 34 EVB3 3 The EVB3 Parameters ev b 3 3 6 1 Morphing You can switch between the presets of the Upper manual with any keyboard To be more precise you can switch between registers with any MIDI controller e g the modulation wheel Choose the desired MIDI controller with the Midi CC parameter The step or linear Mode parameter options determine whether an
17. t need to change anything here If you own a MIDI drawbar organ however you ll probably want to use its hardware drawbars to control the EVB3 Most hardware drawbar organs utilize an independent control change number for every drawbar Some models allow you to freely define these control change numbers If you select MIDI Mode 0 every drawbar responds to a specific MIDI control change number commencing with CC 70 Non drawbar parameters may be set using control change messages up to CC 118 If you select MIDI Mode 1 all of the EVB3 drawbars will be controlled by just a few control change numbers 1 e CC 80 82 its values are intelligently mapped to all drawbars The resolution of this technique is not particularly high much like the original B3 but it works well The Hammond Suzuki XB 2 uses this controller assignment method allowing you to remotely control the EVB3 s drawbars Before you commence a recording session with drawbar movements performed on a hardware organ and the EVB3 set to MIDI Mode 1 we recommend that you disable MIDI Data Reduction in Logic The parameter is located under Options gt Song Settings gt Recording Settings The function thins out the incoming data stream which hardly can ever be noticed with normal controller assignments The controller mapping of the Hammond XB 2 s drawbars exploits the controllers to their limits Therefore the MIDI Data Reduction can lead to wrong values
18. the upper portion of the plug in window Common Plug in Window Parameters Common to all of the EVB3 and other Logic plug ins is the gray area shown at the top of the plug in window Link If the Link button is switched off you can open several plug in windows simultaneously If the Link button is switched on default a single plug in window will be used to display all opened plug ins Each time you launch a new plug in the window will update to reflect the new selection You can easily and conveniently switch between active plug ins without relaunching the plug in window Please see the Switching the Contents of the Plug in Window section on page 22 Emagic 20 EVB3 2 Getting Started e V b 3 Bypass The Bypass button disables the EVB 3 e g to temporarily test other settings Saving and Selecting Settings Complete registrations all parameters of the E VB 3 are saved as a Setting in the plug in window Every plug in available for use in your version of Logic allows the storage and recall of such parameter changes Settings for the EVB3 are saved in and recalled from the corre sponding EVB3 Plug In Settings folder Save Setting e To save a Setting after making parameter changes click on the Settings flip menu and select Save Setting or Save As Setting e In the ensuing file save dialog type in the desired name then click the Save or OK button This will automatically save the Setting in the
19. the wah wah will work as a resonance capable high pass filter At the maximum pedal position only high frequencies can pass Peak In this mode the wah wah will work as a peak bell filter Frequencies inside the center frequency which is controlled by the selected MIDI controller will be emphasized CryB This setting mimics the sound of the popular Cry Baby wah Morley 1 This setting mimics the sound of a popular wah pedal manu factured by Morley It features a slight peak characteristic Morley 2 This setting mimics the sound of the Morley distortion wah pedal It has a constant Q Emagic 46 EVB3 3 The EVB3 Parameters Range Range controls the sensitivity of the wah to controller move ments If you only intend to make slight alterations to the cutoff frequency choose a small value Bite Bite is the name for the resonance parameter of the wah filter You ll know the parameter s meaning if you re a synthesizer player Anyway check it out The cutoff frequency is boosted High values make the wah sound more aggressive 3 12 5 Distortion The distortion effect simulates an overdriven two stage tube amplifier Its primary role is the simulation of the Leslie ampli fier or whatever amp might be used to feed the Leslie speaker cabinet Under Type you ve got the choice between three different tube amp types Growl Bity and Nasty Growl simulates a two stage tube amplifier resembling the Leslie 122 Model
20. with the 122 147 models At this time Leslie also added the Voice of the pipe organ label to his cabinets User Manual Version 1 evb3 61 6 A Short Hammond Organ Story It wasn t until 1980 that the two companies and brand names came together six years after the last tonewheel organ was built Mechanical Leslie rotor cabinets are still being built today by the Hammond Suzuki company Even the newest digital B3 model is combined with a real mechanical Leslie cabinet As an interesting piece of trivia Don Leslie never actually owned a Hammond organ If you re interested in every detail of the Hammond organ s history models facts and recommendations for buyers you should take a look at The Hammond Organ Beauty in the B This book by Mark Vail is highly recommended Jan Friedrich Conrad Emagic 62 EVB3 7 Further Information e V b 3 7 Further Information A great deal of additional information on the history and tech nical aspects of the Hammond and other organs can be found on the Internet We have provided the following links for your use http theatreorgans com hammond http www dairiki org HammondWiki User Manual Version 1 63 8 MIDI Controller Assignments 8 MIDI Controller Assignments In most circumstances Logic s track automation 1s your best option for the recording of manual movements in the plug in window MIDI automation is the better option when you wis
21. Chords Riffs Chords Leads Chords Leads Leads Chords Chords Solo Riff Fills Chords Leads Lead Chords Solo Chords Chords Leads Chords Chords Chords 5th Chords Chord Arps Solo Chords 2 Voice Melody Arpeggios Chords Chords Chords Chords Melody Lower Manual Chords Chords Bass Chords Chords Chords Chords Bass Bass Chords Chords Chords Chords Bass Chords Chords Chords Chords Chords Chords Chords Chords Chords Chords Chords Chords Chords Rotor Control Morph Wah Whee Wheel CC 4 Whee Wheel CC 4 Whee Whee Whee Whee Wheel CCH4 Whee Wheel Wheel Wheel Wheel Wheel Wheel Wheel Wheel Wheel Wheel User Manual Version 1 71 9 Factory Settings Type Setting Name suebJo eneau suebio eBejyulA Celeste 2nd Long Release Celeste Piano Organ Theater 3rd Theater inharm Wunderlich 1 Wunderlich 2 Vox Conti 1 Vox Conti 2 Vox Conti Leslie Vox Conti Whl Wah Cheesy Organs FarFeeeza M 100 L 100 Old Tubes B3 Rotor Speed Brake Tremolo Tremolo Brake Brake Tremolo Brake Tremolo Brake Tremolo Brake Brake Brake Tremolo Brake Brake Brake Chorale Tremolo Brake Tremolo Chorale Tremolo Upper Manual Me Me ody Chord Melody ody Chord Melody Me Me Me Me ody ody ody Chord Melody ody Lead Riffs Chords Lead Cho
22. DI Pedal Control Itis recommended that you permanently attach an Expression Pedal to your MIDI master keyboard Your master keyboard should transmit MIDI control change 11 Expression real time volume if you attach an Expression Pedal to the Expres sion jack and move it This would normally be used to control the volume while playing If you program an EVB3 setting set the Expression parameter to 0 and then define a wah wah effect with controller 11 controlling the wah wah s cutoff frequency you can control the wah wah with the pedal without having to program anything on the master keyboard User Manual Version 1 evb3 REVERB MODE e 45 3 The EVB3 Parameters Read more on this in the Recommended MIDI Setup section on page 23 You should also consult the users manual of your keyboard Wah Wah Control with Other MIDI Controllers or Aftertouch You can use any MIDI control change message to control the wah wah effect You can select any controller number and Channel Aftertouch Touch in the CC field Mode Mode allows you to enable disable the wah wah effect If you select Mode off the effect is disabled There are six different filter types available ResoLP Resonating Low Pass Filter In this mode the wah wah will work as a resonance capable low pass filter At the minimum pedal position only low frequen cies can pass ResoHP Resonating High Pass Filter In this mode
23. Effects Bypass 43 3 122 EQquAalIZ savas saliente e ERI MERE AUI SOS 44 331273 EE 45 BAZZANI e a 45 BADE SAIS TORO MM Ss sean fornai ACEN ee Re A n 47 3 120 ee 48 Emagic EVD6 4 1 4 2 4 3 5 1 6 1 6 2 Table of Contents e V b 3 Separate Effect Plug ins 53 Scanner Vibrato liess iss sen 53 Rotor Cabinets eie dS Hs 54 Distortion H 55 Additive Synthesis with Drawbars 56 Residual Effect com oes EAR RS 58 A Short Hammond Organ Story 59 Tonewheel Sound Generation 60 The Leslie otto ao bo a te epe 61 Further Information 63 MIDI Controller Assignments 64 Factory Settings ee 67 Index 73 User Manual Version 1 7 Table of Contents Emagic EVD6 vita evb3 1 Welcome An electro mechanical Hammond organ with tonewheels and its Leslie sound cabinet cannot be replaced by anything other than an electro mechanical Hammond organ with tone wheels and a Leslie sound cabinet Having said that With the Emagic Vintage B3 you ve purchased a truly portable alterna tive to this classic pop rock and jazz instrument Product and manufacturer s names used in this manual are licensed and protected by law Emagic Logic Logic Audio and EVB3 are trade marks of Emagic Soft und Hardware GmbH All other product names trademarks and artists names
24. Leslie with a wooden enclosure and sounds like the Leslie 122 or 147 models Proline The Proline setting mimics a Leslie with a more open enclo sure similar to a Leslie 760 model Single In the Single setting the sound of a Leslie with a single full range rotor is simulated The sound resembles the Leslie 825 model Split In the Split setting the bass rotor s signal is routed more to the left side and the treble rotor s signal is routed more to the right side Emagic 48 EVB3 3 The EVB3 Parameters Rotor Speed The Rotor Speed switches work as follows Choral slow movement Tremolo fast and Brake stops the rotor Speed Control Organ players generally switch between Choral and Tremolo With the EVB 3 you can switch speeds remotely via controllers as the Modulation Wheel ModWhl Channel Aftertouch Touch Sustain Pedal SusPdl or alternately exclusively via mouse off ModWheel If you choose the modulation wheel you can set all three speed settings in real time Brake is selected around the modulation wheel s center position while Choral is selected in the lower and Tremolo in the upper third of the modulation wheel s travel All other entries in the Speed Control flip menu work as follows They toggle between Tremolo and the speed set with the Rotor Speed radio buttons that means either between Choral and Tremolo or between Brake and Tremolo If Rotor Speed is set to Tremolo you will togg
25. Switch the parameter on again after the drawbar recording session in order to gain memory and processing speed User Manual Version 1 evb3 27 3 The EVB3 Parameters 3 The EVB3 Parameters E cu 00000 Ohne Namen EYB3 EE paa 3 8 1 P i IT Ewe Ben EQ LEVEL Revers Moe 0000006 HEEE ll e The graphical user interface editor view opens when you double click on the EVB3 Input slot of an Audio Instrument object You can open and close the wooden lid by clicking the field underneath the Volume control Keep it open while reading this manual because in the following we will discuss every parameter in detail Emagic 28 EVB3 3 The EVB3 Parameters e V b 3 3 1 Drawbars The principles of additive synthesis with sine drawbars is further explained in the Additive Synthesis with Drawbars section on page 56 You can intuitively pick up the basic prin ciples by playing a little with the drawbars The further down you drag the drawbars the louder the selected sine choir s will be i e the drawbars behave like reversed mixer faders MIDI control of the drawbars is also reversed when using a standard MIDI fader box Drawbars of the Upper and Lower manual plus Pedal drawbars 3 1 1 Pedal Drawbars The organ features two drawbars for the bass Pedals The waveform of the bass is not a pure sine wave but a mixed wave form that realistically simulates the Hammond B3 bass
26. The two registers differ in pitch and in the following ways The Lower 16 register contains more octaves the 8 register has a more prominent fifth portion User Manual Version 1 29 3 The EVB3 Parameters 3 2 Volume 3 2 1 Relative Volumes Upper Lower Pedal In the Organ parameters section you can set the volume of the Lower manual and the Pedal relative to the Upper manual The parameters are called Lower Volume and Pedal Volume 3 2 2 Volume Control and Expression Pedal The overall volume of the EVB3 is not only controlled by the Audio Instrument volume fader and control change 77 but also with the Volume control in the EVB3 graphic user interface i The Volume must be lowered whenever crackling or other digital distortion occurs in the Audio Instrument object Volume levels over O dB can occur if you maximize all registers play numerous notes and make use of the Distortion effect You can control the volume in real time with an Expression Pedal Swell Pedal Extensive and often rhythmic use of the Expression volume Pedal forms part of the style of many organ players The expression control also emulates the tonal changes of the B3 preamplifier Bass and treble are not attenu ated as strongly as the mids much like a HiFi amplifier that features a loudness correction facility Normally you would connect an Expression Pedal to the quarter inch Expression Jack of your master keyboard You
27. ZA emagic evb3 Software Instruments gt Version 1 September 2002 User Manual gt English Edition evb3 License Agreement Important Please read this licence agreement carefully before opening the disk seal Opening of the disk seal and use of this package indicates your agreement to the following terms and conditions Emagic grants you a non exclusive non transferable license to use the software in this package You may 1 use the software on a single machine 2 make one copy of the software solely for back up purposes You may not 1 make copies of the user manual or the software except as expressly provided for in this agreement 2 make alterations or modifications to the software or any copy or otherwise attempt to discover the source code of the software 3 sub license lease lend rent or grant other rights in all or any copy to others Except to the extent prohibited by applicable law all implied warranties made by Emagic in connection with this manual and software are limited in duration to the minimum statutory guarantee period in your state or country from the date of original purchase and no warranties whether express or implied shall apply to this product after said period This warranty is not transferable it applies only to the original purchaser of the software Emagic makes no warranty either express or implied with respect to this software its quality performance merchantability
28. abrupt switch or a seamless morph cross fade occurs between presets Switching the registers with this morphing function is only available for the Upper manual Range After deciding on a controller to use for switching or morphing the Upper manual registers you can determine the number of preset keys that are affected The morphing or switching always begins with the top preset key the B Range defines the end preset key If Range A you will switch or morph between two presets If Range G you will switch or morph between four presets B A A and G Save To In Linear Mode morphing instead of switching the seamless crossfades result in a variety of new drawbar registrations you might want to save Before saving you may wish to alter some drawbar positions manually Click the words Save To and select the destination preset key You do not need to do anything else in order to save the setting to another preset key Note As soon as you morph the Morph text turns orange indicating changes i e you are performing a morph The morphing result s can be further modified with the drawbars but are lost if you don t save it them The Morph text will start to flash if any drawbar modifi cations are made indicating changes to the Morph values User Manual Version 1 35 3 The EVB3 Parameters 3 7 Organ The Organ parameters adjust the overall behaviour of your EVB3
29. ad plugged the B3 s mono output into a Leslie cabinet 3 12 2 Equalizer Being a Logic user you won t have any questions about the EQ Low EQ Mid and EQ High controls The EQ algorithm is derived from Logic Platinum s Fat EQ EQ Level is a master EQ volume control allowing you to specify any gain level to the distortion effect See Effect Chain and Effects Bypass section on page 43 for details on effects routing options Emagic 44 EVB3 3 The EVB3 Parameters 3 12 3 Reverb Box Small Medium Large Big and Spring are the names of the reverb algorithms Reverb level is defined by the Reverb parameter A Reverb 0 value conserves processing resources You can also select Bypass in the Reverb Mode flip menu if you want to disable the reverb without changing its level The reverb is always patched after the EQ wah wah and distor tion effects but before the rotor effect This means that the reverb always sounds as if it is played back through the rotor speaker To hear the reverb after the rotor switch off the organ s reverb and use an aux send to apply reverb to the Audio Instru ment object 3 12 4 Wah The name Wah Wah comes from the sound it produces It has been popular with electric guitarists since the days of Jimi Hendrix The pedal controls the cutoff frequency of a band pass low pass or less commonly a high pass filter The wah wah pedal has also been used extensively with the Hammond organ MI
30. ake Chorale e Tremolo e Tremolo Upper Manual Intro Riff Chords Chords Chords Solo Chords Solo Solo Chords Solo Chords Solo Chords Solo Chords Solo Chords Chords Solo Chords Solo Chords Solo Chords Chords Chord Riff Melodie Chords Chords Melodie Chords Melodie Chord Riffs Melodie Chords Riff Bass Lower Manual Chords Chords Chords Chords Chords Bass Chords Bass Chords Bass Chords Bass Chords Chords Chords Chords Chords Chords Chords Chords Chords Chords Chords Chords Rotor Control Morph Wah Wheel CCH4 Wheel CC 4 Whee Whee Whee Whee Whee Whee Whee Whee Whee Whee Whee Whee E Whee Whee Whee Emagic EVB3 68 evb3 9 Factory Settings Type Setting Name 10025 sue6 10 dog House Bass Sub Bass Organ Limbo Dance Time is tight Latin Rock HipHug California Girls Good Vibrations Morph Surfin USA God Bless Hi De Ho Love you more More amp More Very Happy Back to Oakland Chester T Morph Horses Morph Squib Cakes ToP C Thompson Rotor Speed Chorale Brake Chorale Brake Tremolo Chorale Brake Chorale Tremolo Chorale Tremolo Brake Tremolo Chorale Brake Tremolo Chorale Tremolo Chorale Tremolo Chorale Tremolo Brake Tremolo Brake Tremolo Chorale Chorale Tremolo Chorale Tremolo Chorale Tremolo Chor
31. ale Tremolo Chorale Tremolo Upper Manual Bass Riff Bass Riff Melody Melody Chords Chords Melody Melody Melody Chord Riff Chords Chord Melody Chords Melodie Chords Chords Chord Riff Chord Riff Chords Solo Chords Solo Chords Solo Chords Chord Riff Solo Chords Solo Chords Lower Manual Chords Chords Chords Chords Bass Chords Chords Chords Riff Chords Chords Chords Chords Chords Chords Bass Chords Bass Chords Bass Chords Bass Chords Bass Chords Bass Chords Rotor Control Morph Wah Whee Whee Whee Whee Whee Whee Whee Whee Whee Whee Whee Whee Whee Whee Wheel CC 4 Wheel CCH4 Wheel CCH4 Whee User Manual Version 1 69 9 Factory Settings Type Setting Name sueb10 ediq suebio zzef Reeds Flutes Strings Diapason Cathedral soft Cathedral full B Auger 1 B Auger 2 B Auger 3 J McGriff J Smith 1 J Smith 2 J Smith 3 J Smith soft Jazzy 1 Jazzy 2 Jazzy 3 Old Style Jazz Jackie Davis Morph Merl Saunders Morph Rotor Speed Brake Brake Brake Brake Brake Brake Brake Brake Brake Brake Tremolo Brake Tremolo Chorale Tremolo Brake Tremolo Tremolo Chorale Brake Tremolo Brake Chorale Tremolo Tremolo Tremolo Chorale Chorale Tremolo Upper Manual Melody Chords Melody Chords Melody Chords Melo
32. ame ters in conjunction with the Set buttons The abbreviations are for Upper Lower and Lower Pedal To do so simply click on the appropriate Set button it will turn orange and press the desired note on your MIDI keyboard i If the LP Split is set to a value above the UL Split the other splitpoint is moved and vice versa i If you select the same value for both splitpoints the Lower manual is not heard active i In order to use preset switching in conjunction with Keyboard Mode Split you might have to adjust the transpositions for the Upper Manual Trans UM Lower Manual Trans LM and Pedal Trans Ped 2 4 3 Transposition Octave Range You can individually transpose the Upper Trans UM Lower Trans LM and Pedal Trans Ped registers up down one or two octaves independent of the global transpose functions Trans position is useful for setting the various registers to a particular range matching your needs This facility 1s of particular impor tance when using split mode As with Logic s global transposition functions which can be set in semitones these manual specific transpositions have no impact on the preset keys Also see the Preset Keys and Morphing section on page 33 Emagic 26 EVB3 2 Getting Started 2 4 4 MIDI Mode This parameter allows you to define how the drawbar settings will respond to remote MIDI control change messages Normally you won
33. are the property of their respective owners which are in no way associated or affiliated with Emagic Product names images and artists names are used solely for the purpose of identifying the specific products that were studied during Emagic s sound model development and describing certain types of tones produced with Emagic s digital modeling technology Use of these products images trademarks and artists names does not imply any cooperation or endorsement The EVB3 software instrument mimics the sound and use of the Hammond B3 and Leslie sound cabinet Being a software instrument the EVB3 is not only lighter and more portable than its big heavy counterpart it s also much easier to integrate into Logic s production environment There s no need for any cabling or microphone setup for live performances The same applies to the recording of realistic organ tracks with the added bonus of editability at any stage of production The EVB3 simulates an organ with two manuals keyboards and a pedalboard each of which can have its own registration sound settings The sound generation process is not limited to mere additive synthesis of sine choirs Rather it fully simulates the tone wheel generators of an electro mechanical Hammond organ down to the smallest detail This includes certain User Manual Version 1 9 1 Welcome charming flaws such as the Hammond s enormous level of crosstalk and the scratchiness
34. bender ema deta 42 Plug in changing display 22 reassigning windows 21 Plug in Window LL 20 R Random EM AR residual effect 58 Reverberi pees lees 45 rotor Cabinet 48 Rotor Fast Rate 50 S Scanner Vibrato 31 CCUM EE 21 Shape ebe sone ieee OO Smart Mode 42 Speed Control eroe 49 Speed Ek 3 aca iy hes eae cares 19 Stretch soie e PORTE SE da 40 Tonal Balance e 36 June geseet CEP e ass evb3 73 Index Ultra Bass pi corran aeri e peaa ra Update Services uge t NEEN E 11 Volume Control 30 Wah iie e EE 45 Warmth isa lio rea WS 41 XSKEY AAN 12 16 Emagic 74 EVB3
35. binet You can find the Rotor Cabinet in the Logic gt Modulation gt Rotor Cabinet plug in submenu It s available in stereo and mono gt stereo configurations Read a description of the parame ters in the Rozor Cabinet section on page 48 We Please note There is no Speed Control parameter on the Rotor Cabinet plug in You can switch rotor speeds manually Emagic 54 EVB3 A Separate Effect Plug ins ev b 3 4 3 Distortion Il The Distortion II plug in is found in the Logic gt Distortion gt Dist Il plug in submenu It is available in mono stereo and mono gt stereo configurations In order to have a broader range of distortion colours you can raise the input signal by up to 20dB or lower by up to 10dB with PreGain Read a description of the other parameters in the Distortion section on page 47 User Manual Version 1 55 5 Additive Synthesis with Drawbars 5 Additive Synthesis with Drawbars The Hammond B3 is he classic drawbar organ As with an acoustic pipe organ the registers drawbars or stops on a pipe organ can be pulled out in order to engage them But in contrast to a pipe organ the B3 allows seamless mixing of any drawbar registers The more you drag the drawbars down the louder they will become Despite characteristics such as key clicks intonation undula tions distortions and crosstalk which are emulated by the EVB3 playing a single note with a single register
36. ch the editor window between all channels If you have inserted the EVB3 on tracks 1 and 6 for example you can switch between these channels and adjust their effect parameters e In the Lower flip menu you can switch between the plug in slots of the selected channel i e if a particular channel uses an Equalizer and an EVB3 plug in you can switch the window between them Changing the Plug in View The Editor button allows you to switch between the graphical interface and the Controls appearance horizontal faders on a blue background Hints for Changing Parameters e You can reset any parameter to its default value by RSJ clicking Mac or ctr clicking Windows on it e If you hold 4 before clicking and moving a control its value can be fine tuned e You can click anywhere on a slider and move the mouse Emagic 22 EVB3 2 Getting Started Automation As with every Logic plug in the EVB3 effects can be fully automated with full graphic support and no compromises Please refer to your Logic documentation for further informa tion 2 4 2 Recommended MIDI Setup If you want to fully exploit all features of the organ you will need a MIDI bass Pedal unit and two 73 key MDI keyboards As the EVB3 also emulates the B3 s preset keys the lowest octave of the MIDI keyboards can switch the EVB3 registra tions just like the original B3 Please read the Playing Both Manuals and the Pedals Live section on page 23 for mo
37. dy Chords Melody Chords Melody Chords Solo Solo Solo Solo Solo Solo Solo Full Chord Melody Style Solo Solo Solo Solo Full Chord Style Solo Full Chord Style Lower Manual Melody Chords Melody Chords Melody Chords Melody Chords Melody Chords Melody Chords Chords Bass Chords Bass Chords Bass Bass Chords Bass Chords Bass Chords Bass Chords Bass Chords Bass Chords Bass Chords Bass Chords Bass Chords Bass Chords Bass Chords Rotor Control Whee Whee Whee Whee Whee Whee Whee Whee Whee Whee Whee Whee Whee Whee Morph Wah CC 4 Emagic EVB3 70 evb3 9 Factory Settings Type Setting Name sanjg 8 nos adson suebio s3294J3 Billy Preston Blues Organ Morph Gospel growl Gospel clean Morph Percy Sledge J B s Soul Organ 1 Soul Organ 2 Soul Morph Perc Blues Dist Organ Whl Wah Morph Even Morph Odd Even Morph All Morph heavy Morphing Celestra Whl Wah Clean Toy Bell Organ Marimborgan Gater clean Gater soft Gater rough Lovely Perc Rotor Speed Tremo Chora Tremo Tremo o Chora e Tremo o Chora o Chora Brake Chorale Chora Tremo Chora Chora Chora Brake Tremo Tremo Tremo Chora Tremo Brake Brake Brake Brake e Tremo o Chora e Tremo e Tremo e Tremo Oi EPA Ol MON Chorale Tremolo Tremolo Chorale Tremolo Upper Manual Full Chords
38. e and more convenient This unlimited use authorization code must also be entered in the XSKey Authorization window Thereafter you will have unlimited use of your plug in 2 3 4 XS Key Status Messages The following describes the messages you may see in the XSKey Authorization window authorized The module is purchased it is registered with Emagic and the code for permanent authorization has been entered The module is ready for unlimited use Demo expiring in days This module is fully functional for the specified number of days Purchase and registration with Emagic will provide you with a code to permanently authorize the module If no code is supplied within the time period the module will stop working after the specified number of days has elapsed Emagic 18 EVB3 2 Getting Started e V b 3 It is recommended that you do not attempt to change the date of the system clock during a limited authorization period as this may reduce the time before the module stops working activate Demo The module is not active but it is possible to enable its demo mode To do so click once in the desired Activate Demo field Please note that following its initial launch the demo mode for the module can not be stopped and will continue to count down If a permanent license authorization code is not purchased within the demo period use of the module will expire Demo expired The
39. envelope with the barcode sticker and the serial number of your XSKey handy You can find the XSKey serial number on the barcode stickers that came with your Logic 5 version and under Help gt HSKey Authorization Windows or gt HSKey Authorization Mac OS Start your web browser and navigate to www emagic de registration e Input the requested data e A successful online registration will be indicated via e mail immediately e After a short processing period you will receive your autho rization code for unlimited use via e mail This unlimited use authorization code must also be entered in the XSKey Authorization window Thereafter you will have unlimited use of your plug in User Manual Version 1 evb3 2 Getting Started 2 3 3 Registering by Mail If you don t have Internet access you may register by mail To do so please fill out the registration card attached to enclosed in the envelope e Please fill out the card completely Attach one of the XSKey serial number stickers as supplied with your Logic 5 package onto the appropriate panel e Detach the Plug In Registration Card from the envelope Send this card back to the Emagic distributor in your country or territory using the supplied return envelope e Please allow a period of 10 to 14 working days for the processing of your card You will receive the authorization code for unlimited use by mail The online registration method is preferabl
40. ers Click Min Click Max Not only are the tone color and volume of clicks altered randomly but also their duration Click duration can vary between a short tick and a longer scratch Minimum dura tion is defined by Click Min and maximum duration with Click Max The duration is displayed in milliseconds as you move the sliders Even if both parameters have identical values there is still a random variation in sound This variation makes some clicks seem shorter than the value set with Click Min Click Color Set the tone color of the click here Despite its random varia tion you can define its treble portion globally 3 10 Pitch Compared to the original B3 the EVB3 offers quite a lot of parameters to change its pitch behaviour Please note The parameters Trans UM Trans LM and Trans Ped are explained in the Transposition Octave Range section on page 26 3 10 1 Stretch The EVB3 is tuned to an equal tempered scale As a deviation from this standard tuning you can stretch the tuning in the bass and treble ranges much like acoustic pianos especially upright pianos If you select a value higher than 0 for Upper Stretch the pitch of the higher notes will be raised If you select a value higher than 0 for Lower Stretch the pitch of the Lower notes will be lowered Emagic 40 EVB3 3 The EVB3 Parameters ev b 3 The tones of clavinets harpsichords and pianos have inharmo
41. ers which has priority and overrides the original channel information This can be circumvented by setting MIDI Cha All which is recommended for the EVB3 This will force the original channel information to be used This enables you to make use of the two manuals and Pedal register of the organ directly and simultaneously when playing live Please read the users manual of your master keyboard to learn how to set its MIDI transmission channel often abbreviated as TX Channel Changing MIDI Channels You also can set the EVB3 to receive on a MIDI channel other than 1 for Upper 2 for Lower and 3 for Pedal This is done with the parameter Basic MIDI Ch in the General section The receive channel number for Lower is always higher by 1 than the channel assigned to Upper with Basic MIDI Ch and the Pedal register receive channel is always higher by 2 than the Basic MIDI Ch selected for Upper i The basic MIDI Channel is the only parameter which only is available in Controls View Touch the Editor field at the top of the plug in window in order to access Controls View Basic MIDI Ch works only if Keyboard Mode is set to Multi Emagic 24 EVB3 2 Getting Started When the base MIDI Ch is set to 16 the Lower manual receives on channel 1 and the Pedal register on channel 2 When the base MIDI Ch is set to 15 Lower receives on channel 16 and the Pedal register receives
42. eys and Morphing section on page 33 If you want this restriction to be simulated set the Perc parameter to Only B You find this parameter in the Organ section If you always want percussion to be available select Always Activate percussion by pressing the On button in the Percus sion section to the top right of the GUI The percussion is heard in the 4 register or in the 2 register if the 2nd 3rd button is set Set the percussion decay time with Time set its level with Vol This improves on the B3 where Time and Vol could only be switched on off whereas these parameters can be varied with the EVB3 Emagic 32 EVB3 3 The EVB3 Parameters e V b 3 Time has a maximum setting called Paradise In this position the percussion doesn t decay at all The name is derived from a famous Jimmy Smith recording Groovin at Small s Paradise where Jimmy used a B3 that had a defect in the percussion trigger The cool thing about this technical flaw is that one harmonic sounds without Chorus Vibrato while the drawbar harmonics feature Chorus Vibrato While we recognize that this is very specialized we thought it would be a nice inclusion especially for jazz oriented players The EVB3 percussion register can be played with velocity sensitivity unlike the B3 Set the percussion velocity sensi tivity with Vel If you engage percussion on a B3 the volume of the normal non percussive registers is reduced slightly T
43. h to make use of your hardware MIDI drawbar organ as a remote control for the EVB3 The following tables outline the MIDI controller assignments of the EVB3 The assignments are opti mized for use with several popular MIDI drawbar organ models In order to match the default settings of all popular organs some parameters are assigned twice You need not concern yourself about this If you use a Hammond X B series organ switch to MIDI Mode 1 If you use a Roland or Korg organ choose 0 This table describes the MIDI Control Change Message number assignment when MIDI Mode is set to 0 This is the correct setting if you use a Roland VK series or Korg CX 3 drawbar organ as a remote controller for the EVB 3 Controller Number MIDI Mode 0 Parameter Name 70 Drawbar 16 71 Drawbar 5 1 Ue Drawbar 8 73 Drawbar A 74 Drawbar 2 2 75 Drawbar 2 76 Drawbar 1 3 77 Drawbar 1 5 Emagic 64 EVB3 Controller Number MIDI Mode 0 Parameter Name 78 8 MIDI Controller Assignments Drawbar 1 Rotor Cabinet 80 92 81 Reverb 82 Vibrato 85 86 87 Percussion 94 95 102 103 Equalizer 104 105 106 107 Wah 108 109 Distortion 110 111 112 Click Levels 113 114 Chorale Brake Tremolo Chorale Brake Reverb Level Upper Vibrato on off Lower Vibrato on off Chorus Vibrato Type on off 2nd 3rd Percussion Volume Percussion Time EQ Low EQ Mid EQ Hi EQ Level Wah Mode Wah Bite
44. he Up Level parameter simulates this behavior allowing you to define the volume of the Upper manual with percussion engaged 3 6 Preset Keys and Morphing The Hammond B3 is equipped with 12 switches located below the lowest octave of both keyboard manuals These are the preset keys and are laid out as an inverted keyboard octave black keys white sharps They are used to recall drawbar registrations These presets could only be altered with a screw driver on the original B3 TT wer wm pq Drawbars and Preset Section MIDI notes 24 to 35 the octave below the lowest octave of a non transposed 5 octave keyboard are used as the preset keys See the Keyboard Ranges of the Upper and Lower Manual section on page 25 User Manual Version 1 33 3 The EVB3 Parameters You can click these preset keys directly in the graphic user interface of the EVB 3 They are located to the left Upper and right Lower of the Morph wheel The current drawbar regis trations are indicated by small vertical lines on each key The presets only relate to the registration of a single manual The presets do not store vibrato or other parameter settings The preset keys work in real time thus overall settings including effects etc can be stored and recalled via the Settings menu See the Saving and Selecting Settings section on page 21 On keys CH to Ait the percussion only works in Percussion Mode Always see Percussion
45. inate this leakage At the maximum setting drawbar leakage is most definitely audible 3 8 2 Leakage Leakage adds a sound resulting from the crosstalk of all tone wheels including those of the notes that you don t play This provides breath to the organ sound 3 8 3 Crosstalk The Hammond s tone wheels are divided into compartments of four with the same key but in different octaves There are two tonewheels four octaves apart on each rotating shaft The signal of the Lower wheel contains a small amount of signal induced by the higher wheel and vice versa This crosstalk can be adjusted with the Crosstalk slider Note that crosstalk is only audible on certain wheels avoiding rumble when chords are played 3 8 4 Random FM If the tonewheel generator is clean all frequencies are straight 1 e the frequencies are even in tune The 3 fold decoupling of the tonewheels via springs flexible couplings and flywheels is very effective but can t compensate for irregularities that come with dirt and grease in the driving gear This gradual build up of grime in the mechanism makes the Emagic 38 EVB3 3 The EVB3 Parameters revolution of the tonewheel assembly irregular on its axis This is transmitted to the tonewheels The Random FM slider allows you to simulate this effect Note that the effect only becomes audible in the higher frequency ranges 3 8 5 Filter Age The high frequency output signal
46. ine generators 3 7 4 Bass Filter The sound of the Pedal drawbars often appears to be somewhat brilliant within the overall musical context To circumvent this issue and to suppress the treble of the bass register please make use of the Bass Filter When active you will only hear a solid bass organ fundamental in the bass register 3 7 5 Ultra Bass If you switch on Ultra Bass another low octave will be added to the playable range of the Upper and Lower manuals These additional low octaves and the ability to independently trans pose both manuals see Transposition Octave Range section on page 26 are not available on the original B3 3 8 Condition Technical limitations of electro mechanical drawbar organs with tonewheels cause some strange tonal artefacts such as crosstalk These quirks form an integral part of the B3 s charm With the following parameters you can adjust these parameters and thus define the age of your EVB3 Read more about the Click parameters in the Click section on page 39 User Manual Version 1 evb3 37 3 The EVB3 Parameters 3 8 Drawbar Leak Even if all drawbars are at their minimum position the tone wheel generators of the B3 aren t completely quiet This is due to leakage of the tone wheels cross talking with the output Drawbar Leak allows you to set the minimum output level of the drawbars when set to minimum At a value of 0 you can completely elim
47. l flow routings for the equalizer wah wah and distortion effects in the Effect Chain flip menu This treated signal is then fed into Reverberation and finally passed to the Rotor effect A classic B3 patch would be an EQ ed organ plugged into a wah wah pedal amplified by an overdriven Leslie Select EQ Mish niet Wah Dist User Manual Version 1 evb3 43 3 The EVB3 Parameters The sound of the overdrive changes if the input signal is being filtered be it by the EQ or the wah wah If you patch the EQ before the overdrive the sound of the overdrive becomes much more flexible The output signal of the distortion effect always contains high frequency content If you want to suppress these frequencies the wah wah must be the final effect in the chain e g EQ Dist Wah If you wish to create a screaming sound achieved by distorting the wah wah output you can minimize any harsh ness by choosing the Wah Dist EQ routing You can suppress the brutal overtones of extreme distortions with two filters Select Dist EQ Wah Effect Bypass The effects distortion Wah and EQ can be bypassed separately for the Pedal register Set Effect Bypass to Pedal to do so This avoids the entire bass portion of your organ being suppressed by the wah wah It also avoids undesirable intermodulation artefacts when utilizing the overdrive effect If you select None the entire output of the organ is processed as 1f you h
48. le between Tremolo and Choral The difference between the entries is how the toggle action takes place ModWhl Toggle Toggles as soon as the Mod Wheel exceeds its center value on its way from its low position to its high position If the Mod Wheel passes its center value on its way from its high to its low position there will be no toggle This has been implemented for Roland keyboards with combined Pitch Bend and Modulation levers ModWhl Temp Toggles as soon as the Mod Wheel passes its center value regardless if you move the Mod Wheel from high to low or from low to high This has been implemented for Roland keyboards with combined Pitch Bend and Modulation levers Touch Toggles as soon as you press Aftertouch If you release Aftertouch there will be no toggle User Manual Version 1 evb3 49 3 The EVB3 Parameters Touch Temp Toggles as soon as you press Aftertouch If you release Aftertouch there will be another toggle SusPdl Toggle Toggles as soon as you press the Sustain Pedal If you release the Sustain Pedal there will be no toggle SusPdl Temp Toggles as soon as you press the Sustain Pedal If you release the Sustain Pedal there will be another toggle i The Hammond B3 isn t equipped with a Sustain Pedal This allows you to make use of your MIDI master keyboard s Sustain Pedal as a speed switch Rotor Fast Rate Rotor Fast Rate defines the maximum possible rotor speed Tremolo
49. limited authorization period is over It is not possible to use the module until a valid license code is entered empty field The module is not active and no demo mode is available The only way to activate such modules is by entering a license code 2 3 5 Optimization Programs The EVB3 s copy protection the XSKey is not affected by disk optimization and defragmenting programs You may use programs such as Norton Speed Disk MS Defragmenter or DiskExpressII as often as you like 2 3 6 Formatting the Hard Disk Hard disk formatting or partitioning does not affect the EVB3 XSKey User Manual Version 1 19 2 Getting Started 2 4 Overview and Integration 2 4 4 The Plug in Window Hands on operation of the EVB3 is performed in the plug in window The plug in window can be accessed by simply inserting the EVB3 into the Input slot of an Instrument channel If already inserted double clicking on the blue EVB3 label on the Input slot of an Instrument channel will open the plug in window When launched the plug in window allows access to all EVB3 parameters Every instance of the EVB3 has its own plug in window allowing discrete settings for each The parameters described in the following chapters are easier to manipulate from within the Editor view of the plug in window If you can only see multiple horizontal sliders on a blue background please switch from the Controls view to the Editor view using the flip menu found in
50. ly launch a window on your desktop e Double click on the Installation icon and follow the onscreen instructions e If no window is launched use your operating system s file management utilities and browse to the root folder of the CD ROM drive The installer will check your Logic version and will update or replace any files needed for the operation of the EVB3 It is important that you always run the latest version of your Emagic software as it may contain new features or fixes that affect your system s performance 2 2 2 EVB3 Authorization Your new plug in is integrated into the Logic software To make use of it an installed copy of Logic Platinum Gold Audio formerly Silver or MicroLogic AV 5 or higher is required Rather than installing your new plug in you simply need to input an alphanumerical code into Logic This code authorizes the EVB3 and writes this information to the XSKey You will find this code on the barcode sticker in the sealed envelope The envelope is sealed The act of opening the envelope indicates your agreement with and acceptance of Emagic s licensing condi tions and terms of trade Emagic 12 EVB3 2 Getting Started ev b 3 How authorization works e Boot Logic e Open the XSKey Authorization window by selecting Help gt HSKey Authorization Windows or HSKey Authorization Mac OS e Click once on the Enter Access Code Here field and type in the sup
51. ndividual settings in the Upper Up Lower Low and Pedal Ped registers If you select the Smart Mode playing new notes will cut the sustain release phase of released notes Normal Mode allows polyphonic sustain phases 1 e all released notes will continue to sustain Smart Mode allows long sustain times even in the bass register which would normally cause rumbling disso nances Emagic 42 EVB3 3 The EVB3 Parameters 3 12 Effects The EVB3 features a three band equalizer a reverberation effect a pedal controllable wah wah and a distortion effect that simulates the sound of an overdriven tube amplifier Finally the signal can be processed by the rotor effect Logic allows further processing using the insert slots and auxil iary sends You may freely use native and or VST plug ins to process your EVB3 tracks The Scanner Vibrato Rotor cabinet and overdrive distortion Dist II are included in the EVB3 package as independent native plug ins for use on any of Logic s audio channels This allows you to apply the Rotor effect to other tracks as well The Leslie rotor cabinet isn t only famous as the amplifier for the Hammond organ It s a great effect for guitar vocals or acoustic piano as well 3 12 1 Effect Chain and Effects Bypass Effect Chain The EVB3 s signal flow is as follows the organ s signal runs through the equalizer wah wah and distortion effects You can choose between four different signa
52. ng the ES2 with an authentic scanner vibrato applying some tube distortion to a guitar track etc all this can be simulated with the separate effects plug ins included in the EVB3 package These plug ins can also be used with the EVB3 enabling you to create the sound of two rotor cabinets for example You also can place the effects in an unconventional order Their parameters are as per those of their EVB3 counterparts so there s nothing new to explain about them 4 1 Scanner Vibrato In its mono version the stereo parameters of the scanner vibrato are hidden behind a transparent cover right You can find the Scanner Vibrato in the Logic gt Modulation gt ScannerVibrato plug in submenu It s available in mono stereo and mono stereo configurations User Manual Version 1 53 A Separate Effect Plug ins If Stereo Phase is set to free the modulation speed can be set independently for the left Rate Left and right Rate Right channels This allows for quite wild effects as left and right modulation are not synchronized to each other If Stereo Phase is set to 0 to 360 degree the modulation speed for the left and right channel together is set with Rate Left Stereo Phase determines the phase relation between left and right modulation thus enabling synchronized stereo effects Rate Right has no function in this mode Read more about the other parameters in the Scanner Vibrato section on page 31 4 2 Rotor Ca
53. nici ties in their harmonic structure The frequencies of these over tones harmonics are not exactly whole number multiples of the base frequency as pythagorean theory dictates They are only approx imate and are in fact a little higher The overtones of lower tuned notes therefore are more closely related to the main frequencies of the upper notes Due to the lack of strings this inharmonic relation ship is not true of organs The stretch feature was included for situa tions where you may wish to use the EVB3 in an arrangement along side an acoustic or digital piano EVP 88 and EVD6 Clavinet When arranged in conjunction with an orchestra or synthesizers the stretched tuning facility should not be used Please experiment Lower Stretch controls the amount of deviation from the equal tempered scale in the bass end of the sound The higher the value the further down the low notes are tuned At a setting of 0 the EVB3 is tuned to an equal tempered scale with each octave below exactly halving the frequency Upper Stretch controls the amount of deviation from the equal tempered scale in the treble end of the sound The higher the value the further wp the high notes are tuned Ata setting of 0 the EVB3 is tuned to an equal tempered scale with each octave up exactly doubling the frequency 3 10 2 Warmth Warmth controls the amount of random deviation from an equal tempered scale High values add life to organ s
54. or fitness for a particular purpose As a result this software is sold as is and you the purchaser are assuming the entire risk as to quality and performance In no event will Emagic be liable for any direct or indirect damages resulting from any defect in the software or documentation This agreement will terminate if you fail to comply with any term or condi tion in this agreement This agreement shall be governed by the laws of the Federal Republic of Germany This manual copy protection and software described herein are copy righted 2002 by Emagic Soft und Hardware GmbH Halstenbeker Weg 96 25462 Rellingen Germany 2 1 2 2 2 3 2 4 3 1 3 2 3 3 Table of Contents e V b 3 WOICOITIG cerit err ded d des 9 Getting Started e rl e ad 11 What the Package Includes 11 Quick Start ao rS esce Rab Ped ees 9 12 2 2 1 Installation iss pi Ree Rate ees Ea at 12 2 2 2 EVB3 Authorization ae e RR HR Rm 12 2 2 3 The Instrument Object Type 0 13 2 2 4 Loading and Playing an EVB3 Instrument 14 Authorization amp Registration 16 2 3 1 Authorization Lira pute em EOS ERE 16 2 3 2 Registering One 17 2 3 3 Registering by Mail lilii esee 18 2 3 4 XS Key Status Messages 18 2 3 5 Optimization Programs is lnc ese cw ers etn Rs 19 2 3 6 Formatting the Hard Disk 19 Overview and Integration
55. ounds but tend to sound a little out of tune When applying Warmth and Stretch you should consider that these parameters may result in a detuned sound which is similar to the overuse of a chorus effect Straight tuning is nice too so set Warmth to 0 if you re after a pure sound User Manual Version 1 41 3 The EVB3 Parameters 3 10 3 Pitch Bender Brake Effect The Hammond organ has no pitch bender As such use of the pitch bender is not suitable for realistic simulations but it does provide a number of creative options Pitch up down bender sensitivity can be set independently in semitone steps with the Pitch Bend Up and Pitch Bend Down parameters The maximum sensitivity for upward bends is one octave You can set Pitch Bend Down to Brake which gradually slows the movement of the tone wheels down to a total stop at the pitch bender s minimum position i The Pitch Bend Down Brake setting recreates an effect audible at the end of Knife Edge by Emerson Lake and Palmer Keith Emerson s virtuoso Hammond work was recorded on a reel to reel tape recorder At the end of the song you can hear the tape recorder being gently slowed to a total stop 3 11 Sustain Synthesizer players call the time the note takes to fade out after the release of the key the Release Time The EVB3 allows you to control this parameter as well it s called Sustain in the organ lexicon The three controls allow for i
56. param User Manual Version 1 13 2 Getting Started eter Cha in the object s parameter box You can zr insert the EVB3 plug in into an audio object created by selecting New Audio Object until its Cha parameter is set to an Instrument channel To create a new Instrument in MicroLogic AV simply select Track gt Create Instrument 2 2 4 Loading and Playing an EVB3 Instrument The EVB3 comes with a library of ready to play preset sounds known as Settings These Settings can be found in the Logic gt Plug In Settings gt EUR 3 sub folder following the installation procedure Please follow these steps in order to audition the EVB3 settings e Start Logic or MicroLogic AV and open the Track Mixer or Environment Mixer e Select or create a new Instrument object see above e Select the EVB3 from the hierarchal list of plug ins which appears after click holding on the Insert slot of the Instru ment channel This will automatically launch the EVB3 plug in window Feet ERE Stereo Logic D Exs24 ES1 EvP88 ES P ESIE EVOC 20 PolySynth 32 Audiolnst 2 Audiolnst 3 Audiolnst 4 Audiolnst 5 Au Emagic 14 EVB3 2 Getting Started Launch the Arrange window if not already open via the Windows menu an appropriate Screenset number or Key Command Select the corresponding Instrument channel e the one with the EVB3 inserted in the Arrange Window s Track List This enables
57. plied code After entry your EVB3 will be zemporarily authorized You may use it for a period of 12 weeks with no functional restrictions Please see the Authorization amp Registration section on page 16 for information on unlimited registration 2 2 3 The Instrument Object Type In Logic s Track Mixer or Audio Environment Layer in Logic Audio Gold and Platinum there is an audio object type called an Audio Instrument Audio Instrument channels appear as channel strips in the Environment s Audio layer and Track Mixer window These objects allow software instrument plug ins to be inserted into their Instrument Insert slot as shown in the diagram Note that the use of the insert slot is different to the use of the top Insert slot of the Instrument channels in 4 x and earlier 5 x Logic versions This change in operation was introduced in version 5 2 as one of several audio engine enhancements which add to Logic s mixing functionality The default song the song that opens automatically if you move your Autoload song out of the Logic folder features a number of pre configured Instrument channels An Instrument channel is an audio object or an Audio Track in MicroLogic AV with its Cha parameter switched to one of the Instruments the number of Instrument channels varies depen dent on the Logic version in use Any audio object can be switched to operate as an Instrument by changing this
58. r master keyboard should transmit MIDI control change 11 when the pedal is moved Emagic 30 EVB3 3 The EVB3 Parameters e V b 3 3 3 Tune The simulated tone wheel generator can be tuned in cents percentages of a semitone 0 c is equal to a 440 Hz The EVB3 does not accept the Global Instrument Tune MIDI command 3 4 Scanner Vibrato The vibrato of the organ itself must not be confused with the Leslie effect which is based on rotating speaker horns The EVB3 simulates both me The Scanner Vibrato is based on an analog delay line consisting f of several low pass filters The delay line is scanned by a multi D pole capacitor which has a rotating pickup It is a unique effect that cannot be simulated with simple LFO s Like the Hammond B3 the EVB3 features three types of vibrato with different intensities V1 V2 V3 Vibrato speed is set with the Rate parameter In the positions V1 V2 V3 of the Type parameter only the signal of delay line is heard The Chorus positions C1 C2 and C3 of the Type parameter mix the signal of the delay line with the original signal Mixing a vibrato signal with an original statically pitched signal results in a chorus effect The Chorus parameter allows you to freely mix the dry signal with the vibrato signal l he Chorus param eter is only active if one of the chorus settings is engaged If the CO setting is active chorus and vibrato are disabled
59. rds Riffs Chords Riffs Leads Chords Chords Lead Solo Chords Solo Chords Lower Manual Chords Melody Chords Melody Melody Chords Chords Chords Melody Chords Chords Chords Chords Chords Chords Chords Chords Chords Chords Bass Chords Rotor Control Morph Wah Whee Whee Whee Whee Wheel Whee Whee Whee Whee Whee Whee Emagic EVB3 72 Index Acc Dec Scale 50 Additive Synthesis 56 Automation LL 23 Bass Filtrar dt OF Brake se tit ns 42 Cancel Keys nio RN NN cvs DA A eege E Ee El Clicks ron SEN eene Controls view 20 DiskExpress H 19 Distortion annie na 47 Drawbar sian ege dee ee eg 29 Drawbar Leak 38 Editor vi w 515 t30eEISRE PIS ge 20 Effect Chaine ed NEE At Hee es 43 Effects Bypass 44 Equalizer 5 291 eR dite 44 Expression 20 Filter Age gn Ee 501053099 Hotline v ecrire pr rhet 11 Keyboard Split 25 Leakage ici ida tess leonessa 7939 User Manual Version 1 Leslie otel ged ed enced oi 48 Tank pee dang pera pieni a 20 M Max Wees 36 Mic Angle Las rina ppi DI Mic Distance 51 MIDL egene ian 45 MIDI Preset Switching 34 Motor Control 51 O Only Bo EENS Optimization programs 19 P Paradise I RR ree rond Percussioni zx 9 pitch
60. re infor mation Of course the EVB3 can also be played with single manual keyboards with e g 61 keys 5 octaves C to c Please read the Keyboard Split section on page 25 for more information Playing Both Manuals and the Pedals Live The EVB3 receives the notes for the Upper and Lower manuals and the Pedalboard on three subsequent MIDI chan nels The MIDI channel MIDI Cha of the Audio Instrument must be set to All and Keyboard Mode must be set to Multi The default Upper manual receive channel is MIDI channel 1 channel 2 for the Lower manual and channel 3 for the Pedal registers If your master keyboard sends MIDI notes on channel 1 it will play the Upper manual if it sends on channel 2 it will play the Lower manual and if it sends on channel 3 it will play the Pedal register User Manual Version 1 evb3 23 2 Getting Started You may use any of your MIDI interface e g Unitor 8 MKII or AMT 8 inputs for your master keyboard s and or Pedalboard You can also use a single manual master keyboard with different keyboard zones or a keyboard split feature that sends data on different MIDI channels Regardless of input device s used the only relevant factor is the MIDI send channel Logic records the channel information of incoming notes With most other MIDI and software instruments this information is not used at all This is due to Logic s MIDI channel setting in the instrument paramet
61. rization Windows or HSKey Authorization Mac OS The window indicates the authorization status for all available software instruments and add on modules The authorization code for each is stored in the XSKey Please take good care of your XSKey activate Demo e This window also shows the serial number of your XSKey All codes for all products are typed into the Enter Access Code Here field Click once on the field to enter a code Emagic 16 EVB3 2 Getting Started e Please type the appropriate code into this field You will ind this code on the barcode sticker in the sealed envelope After entry your plug in will be temporarily authorized You may use it for a period of 12 weeks with no functional restrictions If you do not register your new plug in within this 12 week period it will stop working So please register now e You have two ways of registering either online or by mail The online registration method is preferable as it is more convenient and faster Details on both procedures follow e After registration you will receive a further authorization code for unlimited use of the plug in This unlimited use authorization code must also be entered in the XSKey Autho rization window Thereafter you will have unlimited use of your plug in 2 3 2 Registering Online If you have Internet access please register the plug in online This is the simplest and fastest method Keep the
62. ronous motor 24 driving gears are attached to the shaft with 12 different gear sizes These gears drive the tone wheels The frequency depends on the gear ratios and the number of notches in the wheels The Hammond is tuned to an almost exact well tempered scale As with pipe organs that feature multiplexed registers the Hammond organ uses certain generators for more than one purpose Some high frequency wheels serve as the funda mental for high notes and provide harmonics for lower notes This has a positive impact on the overall organ sound avoids detuning and stabilizes levels 6 2 TheLeslie Don Leslie developed his rotor cabinets in 1937 and began marketing them in 1940 Laurens Hammond wasn t keen on the concept of rotating speakers at all Leslie s approach was to simulate a variety of locations in the pipes resulting in a new spatial perception for every note The rotor speaker cabinets could simulate this effect and the sense of space that they impart is incomparable when placed side by side with any fixed speaker The periodic undulations in sound and volume and the vibrato caused by the doppler effect aren t all there is to the Leslie sound it s the space effect too The first Leslie the model 30 had no chorale just tremolo and stop The Chorale idea which came much later was borne ofa desire to add a vibrato to the organ Chorale offers far more than asimple vibrato and was first introduced to the market
63. s of the B3 s tone wheel generators are filtered by bandpass filters The center frequency of these filters vary as the capacitors age Filter Age allows you to alter the center frequencies of the filters This colors the sound of the jitter applied by Random FM and the background noise resulting from Leakage See the Leakage section on page 38 and Random FM section on page 38 This parameter also influences the intonation of the organ if you use the pitch bender 3 9 Click The key contacts of electro mechanical tonewheel organs tend to saw a little on the busbar introducing a short click sound If any corrosion occurs to the key contacts or busbar this will increase the length and level of this click This aspect of the B3 s design causes irregular scratching noises commonly referred to as keyclick when striking and releasing keys Hammond fans like these clicking noises as they introduce a transient percussive quality to the note The EVB3 allows you to adjust the volume and sound of the key click The click sound is altered randomly and independently from the click on and click off release volume settings Click On Click Off These two knobs independently control the click volume for the beginning Click On and release of the note Click Off The click off is quieter even if both controls are set to the same position User Manual Version 1 evb3 CLICKON CLICK OFF 3 39 3 The EVB3 Paramet
64. the objectto receive MIDI data from your keyboard The EVB3 is now ready to play You may select any of the EVB3 Settings preset sounds patches by click holding on the flip menu the downwards pointing triangle to the right of the Bypass button in the silver gray panel area of the plug in window In addition Settings can be selected by using the key commands Previous Next Setting In Logic Gold and Logic Platinum Previous Next Setting can be assigned to practi cally any MIDI message like Control Changes or Program Change commands Should you close the plug in window you can relaunch it by opening the Track Mixer or Environment Mixer and double clicking on the Insert panel of the appropriate Instru ment channel User Manual Version 1 evb3 2 Getting Started 2 3 Authorization amp Registration 2 3 4 Authorization The EVB3 is authorized via a convenient software protection system known as the XSKey Rather than installing your new plug in you simply need to input an alphanumerical code into Logic This code authorizes the new plug in on the XSKey Expandable System Key You will find this code on the barcode sticker in the sealed enve lope The envelope is sealed The act of opening the envelope indicates your agreement with and acceptance of our licensing conditions and terms of trade How authorization works Open the XSKey Authorization window by selecting Help HSKey Autho
65. und engineers tend to avoid wide spreads Mic Distance makes the sound darker and less defined when set to higher values This is typical of microphones when posi tioned further from the sound source Motor Control The original Leslie amps have simple AC outlets for connec tion of the motor plugs Modification is easy you just remove or swap the plugs for the motors Please note With Single Cabinet the Motor Ctrl setting is irrelevant because there are no separate bass and treble rotors in a Single Cabinet A fancy variation is the inverse mode Motor Ctrl inv If you switch to Tremolo the bass compartment rotates with fast speed while the horn compartment rotates with slow speed and vice versa in Chorale mode In Brake mode both rotors will stop The 910 or Memphis mode stops the bass drum rotation at slow speed while the speed of the horn compartment can be switched This may be desirable if you re after a solid bass sound but still want treble movement User Manual Version 1 evb3 51 3 The EVB3 Parameters Another Mode is Sync The acceleration and deceleration of the horn and bass drum are about the same This sounds as if the two were locked but is only clearly audible during acceleration deceleration Emagic 52 EVB3 A Separate Effect Plug ins ev b 3 4 Separate Effect Plug ins Processing vocals guitar or an electric piano with a rotor cabinet processi
66. xplanation 27 gives the sixth 12 the tenth and 11 3 the twelfth partial So the electromechanical tone wheel organ gives you the partials 1 16 2 8 3 51 5 4 4 6 225 8 25 10 135 12 11 and 16 1 As you can see the harmonic spectrum is nowhere near complete That s the reason why overdrive distortion effects are so popular with electromechanical tone wheel organs they enrich the harmonic spectra by generating more partials i The term partial is basically the same as harmonic but they are counted in a slightly different way The fundamental is counted as the first partial its octave twice the frequency is the second partial but is known as the first harmonic The fifth partial oscillates at five times the frequency of the fundamental The fifth partial is known as the fourth harmonic because with harmonics the fundamental is not counted which makes the term harmonic less practical to use 22 3 is the fifth over 4 13 5 is the major third over 2 11 3 is the fifth over 2 In the bass range this can lead to inharmonic tones especially when playing bass lines in a minor key This is because mixing 2 13 5 and 11 3 results in a major chord User Manual Version 1 evb3 57 5 Additive Synthesis with Drawbars 5 1 Residual Effect The residual effect is a psychoacoustic phenomenon Human beings can perceive the pitch of a note even when the funda

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