B5 Organ V3
基于真实音轮采样，并经过全面建模：从音轮拾音器和 AO-28 放大器到电阻线，再到拉杆和按键触点……所有部件都经过不同型号的仔细测量和调整，以匹配真实的风琴。
真实的风琴音色，融合了合成的灵活性。
混合方法
哈蒙德风琴结构复杂，充满了线路和机械部件。迄今为止，最佳的演奏（除了真正的风琴）都是使用纯合成技术制作的，主要是因为风琴使用一组 91 个频率，这些频率通过每个琴键下方的接触器连接，音量由拉杆控制。基于采样的音色库由同时堆叠的拉杆采样组成——这种方法虽然有效，但也带来了一个主要问题：有时您会演奏两次相同的频率，由于相位抵消，按下相同的琴键时永远不会听到两次相同的声音。我们创造了一种使用 91 个频率合成方法的方法，但使用了真实的样本，从而让您有机会享受两全其美的效果：真实录制的风琴音色加上真实的机械行为，同时还拥有功能齐全的拉杆控制和合成器可调性。
基于样本的合成
风琴音色中有一些元素是无法轻易伪造的：音轮、按键音、颤音扫描器……所以我们只是简单地对它们进行了采样。
然后，我们精心复制了整个信号链：音轮拾音器、电阻丝、AO-28 频率响应、拉杆、渐强踏板、打击乐电路，以及真实风琴上的所有控件。即使是细微的线路和电气特性，例如返送、内部噪音、漏音，以及更复杂的功能，例如音调控制、响度窃取、电压窃取等，都得到了重现。
旋转扬声器模拟
版本 3 是一款全新的 Leslie 模拟，更加细致，更忠实于 122A 的录音。
您可以为每个转子选择几种不同的 Leslie 模型：122、147、3300 以及其他一些变体。
它也完全可调：每个转子的麦克风位置、角度、距离、音量、声像、速度和加速时间都可以独立修改。
我们添加了三个新功能：驱动器失真、麦克风漏音和房间模拟，并与我们的 V3 模型相结合，打造出极其逼真的 Leslie 声音。
独奏界面
数百种音轮风琴模型
所有音轮风琴的音色各不相同，每一种都有其独特的音色，这主要是由于音轮和拾音器之间的距离，以及电容器的老化。
在多年从事风琴维修和测量工作的 Kon Zissis 的帮助下，我们整合了来自不同型号（A、AV、B、B2、C2、BA、BC、CV、B3、C3、A100、RT3 等）的 150 种独特的风琴音色。
我们还采样了 4 款标志性型号（1968 B-3、1960 C-3、1969 C-3 和 1965 A-100），您可以在它们之间切换不同的音轮音色。
通过调整音色和手动渐细选项，您可以塑造几乎任何风琴模型和音色。
效果器面板
除了 Leslie 电子管饱和效果器外，我们还新增了一个包含 7 个效果器的面板。
它包括合唱、移相、延迟、过载、法兹、哇音（也可以是自动哇音）和混响（弹簧混响、板混响和真实房间变化）。
除了混响（可以是前置或后置混响）外，这些效果器均为 Leslie 预处理效果。
现在您可以真实还原任何风琴或歌曲的声音，包括前卫摇滚！
独奏界面
电子管饱和
Leslie 122 上的电子管饱和效果器与您在其他电子管音箱上听到的截然不同。
我们在 3.0 版中对其进行了彻底的重新设计，使其能够更准确地匹配真实录音。
先进的打击乐系统
风琴上的打击乐不仅仅是采样的叠加，而是一个由您弹奏的第一个音符触发的通用音量衰减包络，直到您松开所有琴键才会重新开始。
我们精心重现了它，以至于您在打开它或从二度音程切换到三度音程时都能听到打击乐的声音！您甚至可以自定义时间、音量和频率，让它听起来像天堂一样。
它完全可调整：您可以编辑正常和柔和设置的音量（以及衰减时间），决定演奏哪个泛音，甚至控制充电时间。
独奏界面
真实的按键触点建模
每个按键下方有 9 个电触点，每个触点都会发出轻微的咔嗒声，但这些触点并非同时发生。此外，每次咔嗒声的强度和音色取决于电路闭合时音轮信号的相位。
哈蒙德先生讨厌它们，但没有它们就不是音轮风琴了。
我们在 3 版中完全重现了它。现在，渐进的 9 个触点以力度模拟，音色和音量的变化现在基于音源的当前相位。
您还可以控制它们的整体音量和音色
The B5 Organ V3
Based on real tonewheel samples and fully modeled: from the tonewheel pickups and the AO-28 amp to the resistive wires, to the drawbars and key contacts... Everything has been carefully measured on different models and adjusted to match real organs.
The true sound of an organ with the flexibility of synthesis.
A Hybrid Approach
Hammond organs are complex beasts, full of wires and mechanical parts. Until now, the best renditions (short of a real organ) were made using pure synthesis, mainly because the organ works using a set of 91 frequencies that are connected via contactors under each key and whose volume is controlled by the drawbars. Sample-based libraries consist of stacking drawbar samples at the same time - this works, but causes a major problem: sometimes you play the same frequency twice and because of phase cancellation, you never get the same sound twice when you press the same keys. We created a way using the 91 frequencies synthesis approach - but with real samples - offering the opportunity to enjoy the best of both worlds: a real recorded organ tone plus the real mechanical behavior, but with the added benefits of functioning drawbar controls and synthesis tweakability.
Sample based synthesis
There are elements of the Organ sound that can't easily be faked: tonewheels, keyclicks, vibrato scanner... so we simply sampled them.
We then meticulously reproduced the whole signal chain; tonewheel pickups, resistance wires, AO-28 frequency response, drawbars, swell pedal, percussion circuit, as well as all of the controls available on a real organ. Even the small wiring and electrical peculiarities have been reproduced, such as foldback, internal noise, leakage and even more complex features such as tone control, loudness robbing, voltage stealing etc.
Rotary Speaker Simulation
Version 3 is an entirely new Leslie simulation, much more detailed and true to the 122A recordings.
You can choose between a few different Leslie models for each rotor: a 122, a 147, a 3300 and a few other variations.
It is also completely adjustable: microphone positions, angles, distance, and volume, pan, speeds and acceleration times can be modified independantly for each rotor.
We added three new features: driver distortion, microphone bleed and room simulation and combined with our V3 model, they make for an ultra realistic Leslie sound.
Solo interface
Hundreds of models
All of the tonewheel organs sound different, each of them has a particular voicing, and that's mostly due to the distance between the tonewhels and pickups but also to the aging of the capacitors.
With the help of Kon Zissis, who has been servicing and measuring organs for many years, we were able to incorporate 150 unique organ voicings from many different models (A, AV, B, B2, C2, BA, BC , CV, B3, C3, A100, RT3 and a few others).
We also sampled 4 iconic models (1968 B-3, 1960 C-3, 1969 C-3 and 1965 A-100) whose different tonewheel sounds you can switch between.
The combination of tweaking of the voicings with manual tapering options allows you to shape virtually any organ model and sound possible.
FX Panel
On top of our Leslie tube saturation, we added a panel of 7 FX.
It includes chorus, phaser, delay, overdrive, fuzz, wah (which can also be an auto-wah) and reverb (spring, plate and real room variations).
These FX are pre-Leslie, except for the reverb, which can be pre or post.
Now you can truly recreate the sound of any organ or song, including progressive rock!
Solo interface
Tube saturation
The tube saturation on a Leslie 122 is very different from what you hear from other tube amps.
We completely redesigned it in version 3 to match real recordings even more accurately.
Advanced Percussion System
The percussion on an organ is not just an addition of samples, it is a general volume decay envelope triggered by the first note you play, which is not restarted until you release all the keys.
We recreated it so meticulously that you can hear a percussion sound when you turn it on or change from second to third! You can even customize the time, volume and frequency to make it sound like "paradise".
It is also completely tweakable: you can edit the volume for the normal and soft settings (as well as decay times), decide on which harmonic is played and even control the recharge time.
Solo interface
Real Key Contact Modeling
There are 9 electric contacts under each key, and each of them produces a small click, but they don't all happen at the same time. Also, the intensity and timbre of each click depends on the phase of the tonewheel signal when the circuit is closed.
Mr. Hammond hated them, but it wouldn't be a Tonewheel organ without them.
We completely recreated this for version 3. The progressive 9 contacts are now simulated with velocity, and the variation of timbre and volume is now based on the current phase of the tonegenerators.
You can also control their overall volume and timbr |
