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  • Pink Floyd settings

    Anybody now what drawbar settings Rick Wright uses from Floyd, specifically from the album pulse. I can't tell what it is but I love the tone of it.

  • #2
    Originally posted by Josht1557 View Post
    Anybody now what drawbar settings Rick Wright uses from Floyd, specifically from the album pulse. I can't tell what it is but I love the tone of it.
    Pulse was a live take of like, Numb, London Earls Court 1994. There were two keyboard players, Jon Carin on a Kurzweil, if I'm not mistaken. Rick was playing a Beer chop. Tones are different on those boards that Bill created. But on Numb, for example I would say it was close to 888800000. It's hard to say exactly unless you get a shot of the bars during this gig. Tone changes when it gets processed by the PA or during a recording in a studio. It could be 788800000 or 688800000. And it being a Beer chop which internally did not have the same amps as a regular B console, lots of EQ control over the tone within the organ circuit, it could be any number of things that went on those days of that album as far as tone creation.

    And the 2nd keyboardist would be playing an organ pad on a synth on these Floyd tunes, if Rick was playing piano parts. But basically it is a stock 888800000 tone either way.

    As with most Hammond related sounds on a recording, the fact the organ was processed on the recording can change what the actual bar regs would be.

    I saw Gregg Rollie from the vantage point of being behind him at the organ and close to his leslie. What we thought would be 8888 on Santana recordings, was more like 458800000 while he floored the expression pedal.

    Same could've happened with Rick on the Pulse album and it could also be a synth playing organ presets that you are hearing.

    It would be best you name the song off the album in particular.


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    • #3
      On the Beer chop, the B# preset was around 888760000 and the B preset was 888765000 I have those settings seared in my memory. The B preset settings were about the same as that on his M100. On the Olympia Studios C3 for the Division Bell sessions they were more like 888886665. He also used an analog Korg BX3 at Astoria studio. I have found having a 50” tv and vlc player in my studio invaluable for this kind of research. ;-)
      Hammond C3, M102, H112, XB3, XB5, X5, TTR-100
      Lowrey Heritage DSO-1, Yamaha E70
      Farfisa Compact Duo Mk2, Vox Continental 300, Gibson G201, Korg BX3 Mk1
      Leslie 122 x2, 145 x2, 910
      www.drawbardave.co.uk

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      • #4
        Originally posted by Drawbar Dave View Post
        On the Beer chop, the B# preset was around 888760000 and the B preset was 888765000 I have those settings seared in my memory. The B preset settings were about the same as that on his M100. On the Olympia Studios C3 for the Division Bell sessions they were more like 888886665. He also used an analog Korg BX3 at Astoria studio. I have found having a 50” tv and vlc player in my studio invaluable for this kind of research. ;-)
        Thanks Dave. I had considered the Bb settings with some 2 2/3' bar in there somewhere but ball parked the standard 8888 pad reg as it is the most common and in a subdued mix with the band, the organ gets buried somewhat.

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        • #5
          I have a folder of screen grabs from all the Floyd footage I can find of the Hammonds, Farfisa and Binson settings to help me understand them better. On the Hammonds though, it's unlikely that you will get the same sound from the same drawbar settings because of organ condition etc. I spent 10 years trying to get the Beer sound on a replica organ with a proper Bill Beer amp and it still didn't get close. A lot of that sound is in the Bill Beer Leslies. On my 1937 BC with tapered manuals I just stick with 888880000 and 888888000 these days.
          Hammond C3, M102, H112, XB3, XB5, X5, TTR-100
          Lowrey Heritage DSO-1, Yamaha E70
          Farfisa Compact Duo Mk2, Vox Continental 300, Gibson G201, Korg BX3 Mk1
          Leslie 122 x2, 145 x2, 910
          www.drawbardave.co.uk

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          • #6
            One of his tones used commonly on the older albums when he used an M100, such as atom heart mother and meddle, was 886644220, occasionally with normal fast decay 2nd percussion. I've had great success replicating his tones on my M3 and Leslie 145 with this drawbar setting. He can also be seen often using 87654000 or slightly different 88765000 on some recordings. He tends to like the sub harmonic drawbars all the way out, with a steady taper off, then often a sharp cut off to the higher drawbars. The only way to really find organ tones without directly knowing is just using the general pattern and experimenting until you find something like it, or that you like. There's just too many tones it's really hard to know for sure unless you can see it directly, or have heard it directly. That's the beauty of it, but also the thing that agitates folks like us trying to replicate famous tones!! Rick Wright's one of my favorite keyboardists and I've spent quite a bit of timing striving for his tones. Good luck!
            1949 Hammond CV w/1960 Leslie 45 (converted to 145), using H-1 and Leslie 25 amp
            1958 & 63 Hammond M3
            1963 Hammond L100 with 70s Leslie 120
            1979 Rhodes Piano

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            • #7
              The other thing is also what he's playing through to want him to make shapes like has been seen. Whatever he's using as a speaker, monitor plays into how he sets the bars and anything else he's hearing from the other instruments in the band.

              Then one has to decide are they going for the album cut or a live track as a reference.

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