Not me. I love to live nowadays
Acousticsamples releases the B-5 Organ
- Thread starter AcousticsampleS
- Start date
NYC Composer
Senior Member
That's probably because you're not well over 100 years old, and therefore think the present is musically glorious.Not me. I love to live nowadays
I read on another forum that a 64-bit VB3 for Mac was in the pipeline but seems to be frozen for now (for reasons unknown to the public). Confirmed by the GUI graphics designer guy… advising he was not breaking any secret.
Has anyone had a chance to test the HX3 module? What's your feedback?
Has anyone had a chance to test the HX3 module? What's your feedback?
That's probably because you're not well over 100 years old, and therefore think the present is musically glorious.
Not 100, it´s more about halftime for me
.To be honest: Music today is much better than it was BUT it is way more difficult to find the gems. It´s like movies. The number of productions compared to the time when I was a teenager has raised with a factor of 50 (estimated) and 80-90 % is pure crap and is produced with this intention anyway. But the rest is very good and you can find wonderful movies originating from countries where we never had access to in the 70-ties or 80-ties.
Same with music. A lot of it is crap but there is wonderful music around, some of it produced at home by very talented people who had never access to a proper production some 30 years ago (I can tell you how hard it was to find a producer who gave your band a chance).
Not to talk about crime (murder is much less today than it was in the 70-ties here in central Europe). Women´s rights. Believe it or not, in Germany women were not allowed to take a profession when their husband didn´t agree (this law was abandoned in 1974!!)
Memory is a strange and often misleading human ability.
It´s way off topic but currently people talk about the "good old times" very often here where I live. The best thing of the good old times was the lack of backache and the feeling of having most of your life coming and not being a matter of the past.
Sorry for being off-topic and being very subjective
Last edited:
re-peat
Senior Member
I agree with most of that, Raindog. (I'm not a fan of the Jon Lord sound either, though I quite like Steve Winwood's roaring B3 during his Spencer Davis days.)
The only reason I wished to register a complaint here — well, more of a friendly inquiring remark, really — is because I find it a bit strange that the B5, touted as a very accurate virtual Hammond, seems unable to generate one of the most iconic sounds associated with the instrument. That's like a Fender Rhodes that can't do Richard Tee.
I'm still convinced there's something missing — body- or foundation-wise — in the first three drawbars. (And I've also noticed that, if you test individual drawbars higher up the keyboard, some of them disappear almost completely under certain notes, but maybe that was done deliberately, for accuracy's sake.)
_
Last edited:
OP
AcousticsampleS
Member
- Thread Starter
- Thread Starter
- #26
Hi guys, as one of you suggested it, i will just post a few "developper" observations.
First, your quick comparison sounds great on both
But i really think that the difference you are hearing is mostly due to the "miking" and the percussion level.
On the VB3, the percussion is way louder and sticks out, and this is something that you can adjust in the B-5 (in the advanced preferences), you can even use the "paradise button" to have it sound like jimmy smith when he played on a broken B3 on a few albums.
The second big difference is the EQ, which is included in the way we recorded our impulse responses, this greatly depends on the room, the Leslie and the mics. I don't know how VB3 recorded theirs (or even if they use IRs) but it sounds like the mics were placed extremely close (to the point that there is no room ambience at all) when we prefer to still put them where a sound engineer would have put them to still get a little bit of ambience. But this is a matter of choice, and some will like a more "in your face" sound that you get with VB3 and some will prefer a "i'm in the room with the B3" sound for which the B-5 sounds (of course to my ears) best.
You also point out that the first three drawbars disappear, this is completely normal and was accurately (as you pointed out) reproduced from the B3 we had in our hands and is due to the foldback.
And regarding the fact that they lack "body", why don't you just increase their volume a bit? Sometimes it's just the relative volume that gives that impression.
First, your quick comparison sounds great on both
But i really think that the difference you are hearing is mostly due to the "miking" and the percussion level.On the VB3, the percussion is way louder and sticks out, and this is something that you can adjust in the B-5 (in the advanced preferences), you can even use the "paradise button" to have it sound like jimmy smith when he played on a broken B3 on a few albums.
The second big difference is the EQ, which is included in the way we recorded our impulse responses, this greatly depends on the room, the Leslie and the mics. I don't know how VB3 recorded theirs (or even if they use IRs) but it sounds like the mics were placed extremely close (to the point that there is no room ambience at all) when we prefer to still put them where a sound engineer would have put them to still get a little bit of ambience. But this is a matter of choice, and some will like a more "in your face" sound that you get with VB3 and some will prefer a "i'm in the room with the B3" sound for which the B-5 sounds (of course to my ears) best.
You also point out that the first three drawbars disappear, this is completely normal and was accurately (as you pointed out) reproduced from the B3 we had in our hands and is due to the foldback.
And regarding the fact that they lack "body", why don't you just increase their volume a bit? Sometimes it's just the relative volume that gives that impression.
Baron Greuner
Senior Member
Heh! I wanted to take Jon Lord's place.
It's a sound that relies on many different external factors, such as amplification. It doesnt just happen in the Hammond. C3 was Lord's weapon of choice.
It's a sound that relies on many different external factors, such as amplification. It doesnt just happen in the Hammond. C3 was Lord's weapon of choice.
OP
AcousticsampleS
Member
- Thread Starter
- Thread Starter
- #28
Btw, when listening a second time, i really think that an EQ with a boost in the bass and lowered in the MID should help a lot matching the two here.
Hi Arno,
thanks for your comments. Claryfies a few things here. I just wanted to point out that one thing I realised is that the output of the B5 is not specifically "hot". Even if I turn the volume knob within the GUI fully ClockWise it´s not loud enough. Meaning that I could make use of some more "headroom" when using the organ. Is this made by intention? Would it be possible to give a little bit more "power"?
Best regards
Raindog
OP
AcousticsampleS
Member
- Thread Starter
- Thread Starter
- #30
I agree, but, it's important to notice that if you enable all drawbars, the scanner vibrato (this adds some volume as well) and then play a big chord, it gets very close to 0db and to saturation
So we preferred to leave it like this
So we preferred to leave it like this
I agree, but, it's important to notice that if you enable all drawbars, the scanner vibrato (this adds some volume as well) and then play a big chord, it gets very close to 0db and to saturation
So we preferred to leave it like this
Point taken. I´m just not the "full drawbar type" so I will have to push up the volume within the DAW.
EvilDragon
KSP Wizard
VB3 doesn't use IRs as far as I know - it's all fully modelled. There are "Ambience" and "Distance" parameters for microphones right there on the GUI...
One suggestion for a future B5 update: Would it be possible (by using different IRs) to model the microphone distance so that you can have a more ambient sound (which I personally like) and a more "in the face" sound (which might be helpful for some mixing situations?
best regards
Raindog
best regards
Raindog
You´re right
OP
AcousticsampleS
Member
- Thread Starter
- Thread Starter
- #35
Well, given the response, yes, this is in our plans We actually have made a series of IRs at first to control that distance, but there was too much room in all of them.
We actually have made a series of IRs at first to control that distance, but there was too much room in all of them.
Last edited:
Baron Greuner
Senior Member
I tried this just now with a basic 4/4. The trouble with Hammonds is that on a weight actioned keyboard your fingers just stick to the keys. Almost impossible I find. Couldn't keep in time or anything. Can't do the whooshes either on a weight actioned. You really need a Waterfall. This is distorted all to hell and all over the place. Fun though.
Last edited:
Ashermusic
Senior Member
Well, given the response, yes, this is in our plans
I think I could accomplish that with the UAD Ocean Way plug-in.
Ashermusic
Senior Member
That's probably because you're not well over 100 years old, and therefore think the present is musically glorious.
+1 but well, I am only 99 personally.
OP
AcousticsampleS
Member
- Thread Starter
- Thread Starter
- #39
This thread got me thinking a bit, and i believe there is a pretty good solution to the "too much ambient" of the B-5, there should be a new version out by the end of the day with control over that room effect
Ashermusic
Senior Member
This thread got me thinking a bit, and i believe there is a pretty good solution to the "too much ambient" of the B-5, there should be a new version out by the end of the day with control over that room effect
Fantastic!
