The Leslie is not really about the effect its about the sustain and perpetuation of his notes. Listen to any divided sky and hear him holding those notes.
He uses it more in the slow mode which is more subtle.
Also, it's also probably mixed with his regular cabs a lot of times
What it contributes in this scenario is a sound that kind of swims around slowl. Add that to his relatively subtle reverbs and delays and it can be hard to pinpoint. Listen for when his more cleanish tones suddenly have more "air" sometimes you can hear a slight grind
In fast mode it's obvious, if you know what a B3 sounds like
Also, it's also probably mixed with his regular cabs a lot of times
What it contributes in this scenario is a sound that kind of swims around slowl. Add that to his relatively subtle reverbs and delays and it can be hard to pinpoint. Listen for when his more cleanish tones suddenly have more "air" sometimes you can hear a slight grind
In fast mode it's obvious, if you know what a B3 sounds like
i just like the way it looks when it spins - me no understandy tech talkBasically it has two horn like shaped trouble speakers that spin in the upper portion, and it has a "bass" speaker on the bottom half that has a mechanism below it which turns to give it that "whirl" sound, except the lower speaker doesn't physically rotate as the upper ones do.
late 95 seems like it was the biggest heyday of that particular effect. Warren Haynes from Gov't Mule uses it constantly.
If you listen to the Slave from the Clifford Ball, Trey hits the Leslie hard, right before the peak for a couple of measures, then turns it off and continues the same riff, which really lets you hear it well.
Good call joe its most noticeable use is definitely in Slave. I believe Warren actually uses the H&K Rotosphere, same effect just in a pedal. Its a sweet pedal but costs around $500 lol
That's interesting. I know when I used to go see Mule in the mid 90's he definitely had an actual leslie speaker, but he very well may have replaced it with the pedal.
@YorkvilleBeerLover said:Thanks - I did some research on this recently when i was remembering Brent Mydland. God how I used to totally transfix myself on that thing spinning during those shows.i just like the way it looks when it spins - me no understandy tech talkBasically it has two horn like shaped trouble speakers that spin in the upper portion, and it has a "bass" speaker on the bottom half that has a mechanism below it which turns to give it that "whirl" sound, except the lower speaker doesn't physically rotate as the upper ones do.
Check this: http://http://en.wikipedia.org/wiki/Leslie_speaker
@joechip said:
Listen to the "Slave" from LivePhish 1, 12/14/95, if you don't know what the leslie sounds like.... right at 6:20 on the track he turns it on, it's that "phasing" effect that should be very familiar. late 95 seems like it was the biggest heyday of that particular effect. Warren Haynes from Gov't Mule uses it constantly.It's also used heavily in the Halleys-> NICU segue from the same night. After listening to this show constantly, I have recently been searching out shows from late 1995, which feature Trey's heavy use of the Leslie. I seem to be obsessed with this effect. Would love to see what other shows .Netters recommend with heavy Leslie use.
@maplesteam said:
The Leslie is not really about the effect its about the sustain and perpetuation of his notes. Listen to any divided sky and hear him holding those notes.Really? I always thought his comprosser and hollowbody gave him his sustain
http://farm6.staticflickr.com/5099/5520028585_10f5ffb03c_z.jpg
some of the swirling sound you hear on PYITE and such is from the CAE Bad Cat Vibe in his rack^^This is correct^^ Also you can hear the Leslie in fast speed during the watery part in Hood before the gnarly part. He used to use it a lot in slow speed in 97(went Gin) and 99-00, not sure why it's more absent in 98 but I just don't hear it as much that year. Listen to Vegas 2000 and you'll hear it on almost every song.
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