May 10, 1997
Like many of my fellow professional Hammond organ
players, I have been searching to find the most realistic
Hammond sound that can be easily transportable.
Growing up with the sound of Hammond console organs, and playing
my C-3 and Leslie 122 in bands has made me quite aware of the
unsatisfactory sound of most Hammond clones--especially since I
now have a mint B3 and 122 sitting in my living room that
constantly reminds me of that wonderful, elusive sound.
Along with the tone quality of the tone wheel generator and
pre-amp in the Hammond, a major element of that distinctive sound
is the rotating speaker of the Leslie tone cabinet. Until
recently clone makers have chosen to electronically simulate this
sound, with unfortunate results. Like any electronic
simulator, the three dimensional sound field of audio waves
reflecting off the walls cannot be adequately simulated through a
stationary speaker.
Motion Sound developed the Pro-3 a few years ago to address this
problem (please refer to Mark Longo's
review of the Pro-3 in this FAQ for a complete
description). The Pro-3 is used by countless
musicians to create the elusive Doppler rotating effect of the
Leslie speaker (only with a real rotating horn of a Leslie or
Pro-3 can this three dimensional effect be achieved). With
the success of the Pro-3, Motion Sound listened to the comments
and suggestions of these musicians and developed the new Pro-3T
(released in May of 1997). This review comments on
the features of the Pro-3T in relation to the older Pro-3 after
using both models in professional environments.
In many ways the basic design of the Pro-3T is similar to the
Pro-3. Both units use a real rotating horn to create the
high-frequency Doppler effect in slow and fast speeds.
Frequencies below the cross-over point are routed to an
electronic low-frequency rotor simulator, then to an 1/4"
output on the front panel. An external bass amplifier and
speaker is required to reproduce this low-frequency
simulation. A speed control (foot switch) is included with
two buttons: Fast/Slow and Stop. The Stop button brakes the
rotating horn and rotor simulator. The unit is housed in a
sturdy, black cabinet with a grill that protects the horn.
The dimensions are 6.5" X 20" X 16.5" and the unit
weighs only 27 pounds.
Several design improvements have been incorporated into the new
unit. These include:
| 12AX7A pre-amp with pre- and post-gain controls |
| Tone control 147 contour or Pro-3 (4-10KHz) |
| 40 watt FET .02% distortion horn amplifier |
| Superlife zero maintenance Pyrathane belt |
| Horn ball bearings |
| Fast Speed indicator LED |
| Enhanced low rotor simulator with front panel AM modulation control |
| Adjustable horn: slow, fast, acceleration |
| Adjustable low rotor: slow, fast, acceleration |
| Speed control: fast, slow, stop or variable (with the new "Gas Pedal") |
| Rear panel signal output connector for the new "Low Pro" |
| Crossover point of 800HZ |
One of my primary suggestions concerning the Pro-3 was the digital distortion feature. Although effective for heavy Jon Lord distortion effects, this feature did not realistically simulate the wonderful "growl" of the slightly overdriven Leslie speaker. The Pro-3T uses an analog distortion circuit incorporating a 12AX7A pre-amp with pre and post gain controls on the front panel. This new feature makes it unnecessary to purchase an additional warm-tube distortion unit like the Blue Tube. I always dial in a little distortion into my sound. This adds the "grit" that really distinguishes the analog amplifier in the Leslie speaker. The amount of distortion is adjusted using the pre and post gain controls. I set-up with the Pro-3T within reaching distance so I can easily vary the amount of distortion during a set. The tube is visible through a plastic window on the front panel and is easily replaced by removing four screws and lifting the top off the unit. Several new owners of the Pro-3T have replaced the 12AX7A with the Telefunken 12AU7. This tube is a lower gain version that allows a wider spread between a clean and distorted sound. I have not considered this modification for my set-up as the distortion curve of the 12AX7A is adequate for my needs. This distortion feature adds so much to the sound of the organ many keyboard players who have heard my band cannot believe that the organ sounds are not emanating from a real Hammond. A little bit of warm tube distortion goes a long way.
The pre-amplifier in the Hammond console organ rarely created tones above 6KHz. The older Pro-3 had a high frequency cut-off of 10KHz. This allowed high-frequency sounds from poor organ samples to pass through the Pro-3--creating an unfortunate "shrill" sounding tone. You had to equalize the sound through your tone module to cut the high frequencies above 6KHz. The new front panel tone control on the Pro-3T allows you to adjust the high-frequency roll-off from 4-10 KHz. I have found that a setting of "3" gives the best tone to simulate the high-end roll-off of the Hammond and Leslie. Of course, this depends on the amount of high-frequency hearing loss you have suffered over the years.
The digital amplifier has been increased in power from 30 to 40 watts. Although my new band is relatively "low-volume", I used the older Pro-3 in my former band (a loud seven piece horn band). I found the volume of this unit satisfactory to cut-through the intensity of the horns and guitars. The old Pro-3 was loud enough for me without the increase in power... This one goes to "11"! That's one better, right?
Working in dark clubs makes it nearly impossible to see the horn rotating in the enclosure. The Pro-3T has a LED on the front panel that illuminates when the tremolo speed is engaged. Unfortunately, there is no indicator when the brake (stop) is on.
The new low rotor electronic simulator is superb! Like
the upper horn, the slow, fast, and acceleration times are
adjustable though internal pots. Unfortunately, you must
take the cover off the unit to adjust these parameters (too bad
Motion Sound could not fit six more knobs on the front
panel). The low rotor simulator has an AM modulation
control
on the front panel that controls the intensity of the
rotor. I found that a setting of "7" is ideal for
a realistic Leslie simulation. Because our ears are
less sensitive to low frequency modulations, an electronic
simulation of the rotating low frequency drum is much more
successful than an electronic simulation of a rotating
horn. There are stereo outputs on the front panel to send
the output to two amplifiers creating a very effective
low-frequency sound-field. There is also rear-panel output
for the new Motion Sound "Low-Pro". This unit
uses an actual rotating low-frequency driver. I must say
that the rotor simulation is so successful that the
"Low-Pro" may be unnecessary in most band situations.
Motion Sound also changed the crossover point from 700Hz to 800
HZ (the crossover point used in the Leslie 147 speaker).
This development sends less of the low-frequency
tones through the horn, resulting in a cleaner high-end. As
Mark points out in his review, it is essential that a
high-quality bass amplification system is used to reproduce the
low rotor simulation. It is even more critical now that the
cross-over point has been adjusted.
The foot switch controller is unchanged from the previous model. It consists of two buttons: Slow/Fast and Stop. The real speed control advantage of the Pro-3T is in the new "Gas Pedal" feature. This optional device is designed like an expression pedal, allowing you to remotely vary the speed of the rotors. This is a very useful option, especially for guitar players.
As of this writing I have used the Pro-3T on a few live
professional engagements. I play in a
Jazz/Blues/Lounge band in the Dallas/Ft. Worth area. The
music we play is quite
diverse--from "Fever" to "Over the
Rainbow". I play a Hammond simulation on most of the
songs using a Roland A-90EX controlling a JV-1080 with a
"Keyboards of the 60's and 70's" expansion board.
The low-rotor simulation is routed through a Roland KC-500
keyboard amp. I mix a few patches from the JV-1080 to
create a very realistic Hammond tone (listed in the FAQ).
My patches are based on the typical blues registration of
888000000 along with patches that simulate full organ
stops. I also use patches with C-3 vibrato. The
Pro-3T adds an amazing amount of animation to the sound of these
patches.
The warm-tube distortion faithfully reproduces the slow growl
present in the jazz tunes, and the higher distortion effects
during the blues numbers. Like my B-3, when I
add more volume with the expression pedal, the distortion
increases. I found it quite easy to adjust the amount of
distortion in a live situation. The typical Hammond growl
is present, the acceleration and deceleration of the rotors is
incredibly realistic, and the percussion really jumps at
you. I love pushing the distortion until the percussion has
that distorted "snap" to it. What is really
amazing is the sound of the rotors spinning during moderate
distortion. You can achieve that "Magic Carpet
Ride" feel quite easily, and at the same time find the sound
of Greg Allman's warm B-3. We cover the Van Morrison
version of "Lonely Avenue" and I can now match the B-3
sound exactly as it is on the record. We also do a gospel
number that is quite effective using 800000008 and fast
speed. "Highway Star" sounds pretty good too
(although we do not play this one... it is not exactly a lounge
number).
Don't limit yourself to using the Pro-3T just for Hammond
sounds. I also pump a few orchestral patches through the
Pro-3T. On a version of "Viva Las Vegas" I play a
mixture of Mellotron and other synth effects through the slow
speed of the Pro-3T. The Mellotron goes into the Pro-3T and
some of the synth sounds from the A90-EX bypass the
Pro-3T and go straight into the amp. I get comments
on this unique sound every night.
The chorale and tremolo effects are quite impressive. We
cover Lee Michael's version of "Stormy Monday" and the
sound of a distorted Hammond through a fast Leslie that I achieve
with the Pro-3T is very close to Lee Michaels' distorted
C-3. In fact, I can make it sound exactly like the version
on his live album (a bit too distorted for my taste,
thank-you). The acceleration times and speed of the
rotors are adjustable, but I found no need to adjust them as the
factory pre-sets are fine.
There is one problem with the overall sound that has nothing to
do with the design of the Pro-3T. Most Hammond clones do
not have phase-locked notes. This creates an unfortunate
phase-shifted "beating" sound in the high
registers. This is not a problem in many of my individual
patches, but when combining patches the "beating"
increases. It is essential that you turn off all effects
(except reverb) when using the Pro-3T to reduce this beating
effect.
I was able to audition a new Roland VK-7 combo organ with my new
Pro-3T. I must say that the combination of these two
devices is amazing! I agree with many of my fellow Hammond
list members that as of this date, the VK-7 is the most
successful Hammond clone yet! The VK-7 also has
phased-locked notes which do not produce the phase-shifted
"beating" of less accurate Hammond clones.
I received one of the first Pro-3T's from the factory. When I hooked it up to my rig in my home studio I discovered a problem with the horn. There was a strange buzz in the range of C6 that sounded like either a fault in the driver or the distortion circuit. I called Motion Sound to inform them of the problem and John Fisher immediately returned my call. After a few minutes of telephone diagnosis and repositioning the driver, John told me that he would send me a replacement unit immediately. I informed John that I had a gig in four days. He made sure that I received the unit in time. This is not an unusual story from Motion Sound. Large corporations have something to learn from this small Utah company. No product is perfect, especially one of the first units off the line. The difference is in how the company stands behind the product. Motion Sound's customer service is exemplary!
The new Pro-3T is a wonderful example of how a company with a great product can design a better one by listening to its customers. I highly recommend this unit to any Hammond clone player looking for that elusive sound. After auditioning the Pro-3T with the Roland VK-7, I have found the perfect road replacement for my B-3 and 122. I purchased my Pro-3T for around $600--and it is well worth it! Now, if I can only find the money for the VK-7.....