He went as far as designing a proprietary connector to make it more difficult to run a Hammond organ through any third party speaker and coerced his dealers into agreeing not to sell Leslie speakers.Įventually, though, Hammond took the “if you can’t beat ‘em, join ‘em” route and tried to buy Electro–Music in 1957. Laurens Hammond grew disdainful of the device and its sound. Word of mouth had left him barely able to cope with the demand. The speaker was selling so well that Leslie had no need to advertise. He started selling them under a variety of brand names in 1941 and started marketing them under his own name in 1947. Leslie went ahead and started his own company, Electro–Music, to manufacture the speakers. Likewise, the Leslie speaker would go on to become a constant companion to the Hammond organ on studio recordings and live performances. Little did Laurens realize, organists would adopt the Leslie far and wide, no matter what brand organ they played. He thought it lacked a desirable sound or obvious application.
Leslie suggested that Laurens market the speaker alongside his own organ, but Laurens didn’t much like the sound of the speaker. during World War II, Leslie started tinkering with a design for a new type of amplification system that could emulate that warble.īy 1940, he had a prototype of his rotating speaker system and approached the inventor of the Hammond organ, Laurens Hammond.
DEEP BASS SPEAKERAMP TOIT MOVIE
He wanted that massive, quivering sound he heard on pipe organs in churches and movie halls.Ĭhanneling his experience in mechanics and electrical engineering from his stint at the National Research Laboratories in Washington D.C. As fascinating as the technology was, Don was ultimately disappointed by the organ’s sound. In the late 1930s, Donald Leslie brought an electric Hammond organ home. Those speakers’ rates can be varied to make the effect more or less intense, with the faster setting giving the Leslie its most distinct sound. The rotation causes sound sources themselves to grow nearer to and farther from the listener, even while these sound sources are housed in a stationary cabinet. Fluctuations in pitch and loudness are ultimately the result of the treble speaker’s and drum aperture's distance from the listener.
0 kommentar(er)
