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Acousticsamples B-5 Organ V2.5 Plugin

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B-5 Organ V2.5 Plugin

Fixes
- There was in some very rare cases stuck tonewheels happening when using the preset keys, this should be fixed now.
- The percussion volume drop was happening on the non-percussion presets, it's not the case anymore.
- There are a few other internal fixes and improvements that were released since the V2 as silent updates, like the addition of a few organ controllers or the DI volume that you can mix with the microphones.
New organ models
Thanks to our friend Joe Doria, we were able to add a very good sounding A101 from 1963. And while we were at it, we decided to also add the organ we used for the videos, a chopped 1964 A102 bringing the B-5 to a total of 6 very distinct Organ models.
A101 and A102 organs are exactly the same as A100 models, only the type of wood (and the legs for the A101) changes. There are more audible changes between years that are mostly electronics and different adjustments to them which explains why these models all sound different.
If you already own the B-5, then this "update" is FREE, here are the steps to get it:
 
1- Log into your account and download the new file from the download page (the file B-5-Organ-v2.5-EDC.rar)
2- Update UVI Workstation or Falcon to the latest version (this is important). 
 
The Hammond organs are very complex beasts, full of wires. Until now, the best renditions were synthesis, mainly because of how the organ works which is a set of 91 frequencies that are connected via contactors under each key and which volume is controlled by the drawbars.
 
Sample based libraries consist of stacking drawbar samples at the same time which works, but causes a big problem, sometimes you play the same frequency twice and because of phase cancellation, you never get the same sound twice when if you press the same keys.
 
We have found a way to use the 91 frequencies synthesis approach, but using real samples, so we get the best of both worlds, the real recorded organ tone plus the real behavior and we keep access to the versatility of the drawbar controls and the tweakability of synthesis.
 

The B-5 Organ V2 interface


Drawbar, percussion and FX settings

 

 


Horn rotor speaker settings

 

 


Bass rotor speaker settings

 
 


Advanced Settings and Mods

 

 


MIDI settings and Mapping

 

 


Preset management

 

Sample based synthesis

We sampled each of the 91 tones and then measured and meticulously reproduced everything, the key contacts, the resistance wires, the foldback, the drawbars, the swell pedal, the percussion, and every button available on the original machine.
 
To also get the best possible vibrato/chorus effect, we also sampled all 6 settings and carefully phase aligned everything.
 
Synthesis model based on samples, to get the authentic sound and the real mechanic behaviour.
 
In the version 2, we improved the precision of our initial model and added an electrical simulation with effects like the loudness robbing and the voltage stealing.
 

Here is a list of features that you will find in the main interface:

1- The Drawbars
The upper and lower manuals each have a set of 9 drawbars and the bas has 2 drawbars (the version 1 had 3 drawbars, but we revised our model to really mimic the real frequency combination of the real pedalboards).
The volume curve of each drawbar has been carefully measured and reproduced so you can be sure that a setting you know on a real organ will sound the same.
Of course, since our system is based on virtual tone generators, the drawbars can be moved in real time.
 
2- The percussions
Just like on a real organ, the percussion system works only for the upper manual and will disable one drawbar from it. By default, it is set to the 9th, but you can choose which one and even allow all drawbars from the advanced preferences. Remember that to hear the percussions, you need to enable the second set of drawbars (B preset key). 
There are more information about the percussion system in the percussion section.
 
3- The scannervibrato
The original scanner vibrato is not a simple vibrato, tremolo or flanger effect, it could be modelled by using a delay line. 
The vibrato created by Mr Hammond relies on a rotating delay that creates the vibrato (V-1, V-2 and V-3) to which the initial signal is added to create the chorus effect (C-1, C-2, C-3).
Instead of trying to recreate it, we preferred sampling each of the 6 different settings and we aligned them to make sure they always stay in phase.
Of course, just like on the real machine, you can activate for the vibrato for the upper and lower manuals independently.
 
4- Volume control
We measured and replicated the evolution of the swell pedal as well as the percussion volume and of the "normal" and "soft" volume.
We also added a general volume button in case the sound gets too loud and saturates too much.
 
5- Presets
You can select a drawbar preset for each manual and browse through them by clicking the prev or next button while you play.
There are more things that you can do with the presets, and it is all explained in the presets section.
 
6- Rotating speaker Speed
Regular rotary speakers have a slow and a fast rotation speed (respectively called Chorale and Tremolo), it is common to add a brake position as well.
This function is accessible from the interface but also by using the Modulation Wheel.
 
7- The FX
We added a reverb knob based on the incredible UVI Sparkverb.
We also added a tube distortion to imitate the behaviour of the rotary speaker when you increase the input volume.
 

4 different iconic models

All of the tonewheel organs sound different, each of them has a particular voicing, a different vibrato, different percussion volumes and curves, tone generator sound and volume, click sound, harmonic leakage and many other aspects.

We sampled 4 different models, a 1968 B-3, a 1960 C-3, a 1969 C-3 and a 1965 A-100 and extracted all of the particularities of each model.

 
Solo interface
 

You can choose which one of the 4 models you want at the bottom of the interface and all of it's characteristics and samples will be loaded.

Three of these Organs (both C3s and the A-100) are the property of Mr Pietro Roncarolo from Italy, he made the recordings for it and also helped a great deal in recording different aspecs and effects of his organs to help us create our model.

 

 

Rotary Speaker Simulation

The version 2 of our rotary speaker simulation is simply the best one available today.
 
We provided UVI with extensive measurements of our Leslie model 122 for both the horn and the bass rotors and they came up with an extremely accurate simulation of all of the phasing effects and pitch modulations.
 
We added a large variety of impulse responses at different microphone placements, and you can control all of the Leslie parameters differently for both rotors independantly.
 
We even added extra amplifier simulations to extend the B-5 Organ sound capabilities.
The rotary speaker has a strange story, Mr hammond did not like the "Leslie" speaker, and never accepted to sell an organ with it even though almost every organ today is paired to one. Instead the organs were sold with a "Hammond Tone cabinet". Mr Leslie never gave up and always made models that would be compatible with every new organ, while Mr Hammond made sure that every new organ would change its connectivity.
 
The rotary speaker consists of two different rotating systems, each of which receives a filtered signal from a 800Hz crossover circuit.
The Horn (at the top), receives every frequency above 800Hz and is made of a small speaker directed to a double rotating  horn (one of which is actually here only for mass compensation to stabilise the system when rotating). That rotation creates three big effects, a volume change, a filter change and a doppler effect that will modulate the pitch.
The Drum (at the bottom) is similar as it also rotates, but at a slightly different speed and gets the frequencies below 800Hz. To still have an effect at lower frequencies, it is bigger.
We made the most detailed measurements of these effects and let UVI create the best simulation available today.
The combination of both these rotators and the wooden box they are into give the rotating speaker this very typical sound that will vary with the rotation speed.
 
You can customise a few of the parameters of this model.
 
1- First, wether you want to test it or use another simulation, you can completely bypass it and use the DI sound, use the version 1 of our rotary or use any of the 16 different combo amps.
 
2- Second, as we separated the horn and the drum sections, you can control the amount of each one and also how it was recorded, the microphone position, angledistance and also the size of the room are adjustable independantly for each rotor. There are many ways to record a rotary speaker and with all of this, you have the possibility to place 4 different microphones precisely where you want around the Leslie, 2 for each rotor, which gives a lot of flexibility to make it fit in your mix exactly as you would have recorded it.
 
3- There are many models on the market, and they mainly differ by their dimensions, horn size and position. We sampled 4 different ones, two Leslie 122, one 3300 and a 147, each one with the same set of microphone placements. The all sound slightly different. We also added some common speaker "voicings".
 
4- Another difference that you can find from one rotary speaker to another is the rotation speeds for the Chorale (slow speed setting) and Tremolo (fast speed setting) as well as the acceleration and deceleration times. You can set all of these values for each rotor.
 
5- You can adjust the leslie mechanical noise.
 
6- We also added a 3 band EQ for each rotor to control the tone of the each speaker.
 
7- The default sound has a little ambience in it as we like to feel in a real environment. The Romm size knob allows you to lower that ambient a little, this effect is very subtle and is better heard when the reverberation is off. If turned all the way to the left, the sound will be very dry and the sound will gain in woodiness as you increase it.
 

Tube saturation

The tube saturation on a Leslie 122 is very different from what you can hear on other tube amps.

We provided UVI with detailed measurements of the response of the Leslie 122 amp and adjusted it precisely to those measures. We also simulate the membrane saturaton of the horn rotor.

Both these effects combined recreate a very accurate saturation.

 
Solo interface
 
 

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 and that is not restarted until you release all keys.
 
We recreated that meticulously, so much that you can hear a percussion sound when you turn it on or change from second to third.
 
You can even customise the time, volume and frequency used and make it sound like "paradise".
 
The version 2 includes a much more precise percussion curve and attack and is now linked to the B preset key and second set of drawbars.
The percussion system was introduced in the B-3 and C-3 organs to add the percussive instruments to the list of instruments that the organs were supposed to replace.
As simple as it sounds like, it is not a simple sample addition, here is what it does and that we carefully reproduced:
 
The percussion is a general volume decay envelope applied to an harmonic that is triggered at the first key you press and that is restarted only when all notes are released.
The percussion circuit does not go through the scanner vibrato, its pitch stays unaltered (at least before going through the speaker.
It is only available on the upper manual.
It steals a drawbar from the upper manual, by default the 9th, but we made is so that you can choose which one it steals or even avoid it to steal anything.
It has two volume positions, "soft" and "normal", the normal is louder, but also dims the volume of the drawbars. This effect can be turned off in the advanced preferences and each volume can be defined as well.
You can choose wether you want to use the second or third harmonic for it, and you can also use any harmonic for each position in the advanced preferences.
You can also choose the decay of that envelope (slow or fast) and these values can be changed in the advanced preferences as well.

The percussion will not work if you don't use the second set of drawbars on the upper manual (or use the B preset key) just like on a real organ.

 

Real key contact modeling

There are 9 electric contacts under each key, and each of them produce a small click, but they don't all happen at the same time, making this the only influence of the velocity and resulting in a different click sound every time you press a key.
 
Mr Hammond hated them, but a Tonewheel organ would not be one without them.
 
We completely recreated that model for the version 2 and now allow you to control its volume and reaction to the velocity.
 
Each organ model has its own set of key clicks as well, and they all sound different.
 
Solo interface
 
 

Organ modifications

Every organ player likes to tweak his instrument, so every modification that organists can do is available here.
From the adjustment of the drawbar volumes with resistance wires to the proximity of the pickups to the tonewheels or all of the known percussion modifications, you can tweak the B-5 like you would a real one.
 
Since the V2, we even allow you to control the volume of the electrical noise and the influence of the electrical artifacts.
There are many available organ modifications and they are not always done the same way, but we find out which were the most common ones and included them.
 
This is not really a mod, but more of a rebuild, but the tone generator volume allows you to change the volume of each tone generator separately which is basically the same thing as fixing the position of the microphones next to each tonewheel, since the version 2, you can now draw a curve to dil or brighten the organ exactly to your liking.
 
You can also modify the Drawbar Volumes which would mean changing the resistance wires for every drawbar connector.
The String Bass is an organ add on that makes the pedal tones decay longer and steal the previous note to make it easy to play legato notes with your feet. Its decay can be changed.
 
Many organ players don't use the pedals and prefer to use the lower manual instead, the problem is that Mr Hammond used the "foldback" to limit the number of tones to 91 and also assign the very low and more complex tones only to the pedals. A common mod is to rewire these to the lower manual two lower octaves. We give the possibility to do this on both manuals.
 
When the percussion is on "normal", the whole volume of the organ decreases while the percussion gets louder. The "Percussion volume drop" mod avoids this volume loss.
 
As mentioned in the percussion section, you can control every aspect of the percussion system, the volumedecay and the harmonic used for each switch position.
 
A less known effect is the percussion recharge time, which represents how much time the percussion general ramp needs to go back to its maximum value, as an example, if you play very quickly the same note, the volume of the percussion will be lowered as you play faster, if the time between two repetitions is above the recharge time, it will play at full volume, otherwise it will play at a fraction of it.
 
The percussion system "steals" a drawbar, you can change which one gets stolen or even if it gets stolen at all.
Jimmy Smith used a broken organ on a few records, the percussion system did not work properly and the percussion never decayed, this mod is called "adding a Paradise button".
 
All three keyboards
On a real organ, there are 3 keyboards, two of which are almost identical except for the percussion system, and the bass pedals. 
You can choose to use 3 different MIDI channels, one for each keyboard or you can use the split to have all three one one keyboard.
 
The Bass foldback can be removed for the Upper and Lower manuals to get access to the deep bass without the pedals.
 
The Bass Pedals tones are made of the 12 first tonewheels that have a different shape than the other ones, and consists of 2 pre-made combination of 8 frequencies, one controlled by each drawbar. Since the version 2, we included that model and we offer 4 different pedalboard combinations, one for each model we sampled.
 
You can also enable the stringbass mod with control over the sustain.
 
Solo interface
 


Presets

There are around 200 drawbar presets that you can load, save, delete or assign to the preset keys (upper and lower), and these include the most used Jazz, Gospel and classical presets.
 
We added general presets (some of them made by known artists like Mr Jim Alfredson) in the version 2 that contain all settings, you can also save and reload yours easily.
 
You can browse through them quickly and while you play to find the perfect sound for your compositions.
 
The preset keys can be customised and will allow you to easily change drawbar settings while playing.
 
On the front interface, you can select any of the 200 drawbar settings for each manual and move to the previous and next one by clicking on a button.
There is much more you can do here with these presets, if you click on the presets button, the preset panel will appears, and here you can choose your current drawbar setting, give it a name and add it to the preset list to be able to use it live.
You can even create your own preset list by removing or adding items or export and reload lists created by you or other users.
 
There are also general presets that include every setting of the library that you can save and load without reloading the whole library, we included a selection of presets to get a good stating point and shape the sound in seconds.
 
To play with your settings live, you can go in the advanced preferences and assign a preset to each of the 12 key selectors just like on a real organ, the only difference is that you choose the settings here and don't have to rewire everything each time you want to change them.
 
 

MIDI assignment and controllers

Every element of the interface can be assigned to any MIDI CC and Channel easily using our assignment panel or our MIDI learn function.
 
To make things easier, we included a few mapping presets for the most common organ clone controllers, this includes, the XK series, all Nord keyboards, the Crumar, the HX3, the B4D and others.
 
We included most tweaks required by some conytrollers like the inversion of the drawbar movement or the toggle for the leslie speed.
 
The volume pedal is a crucial element when playing the organ and we give the possibility to adjust the curve and range of the volume and filter affected by the pedal.
 
Solo interface
 
There are two ways to assign for example the MIDI CC 32 to a drawbar:
 
1- in the MIDI panel, you locate the element you want to control, then you simply click on the MIDI learn button at the top and then move the controller of your choice, it will automatically map the CC and the channel. You can also set this manually if you want.
 
2- You can also right click on a drawbar and simply move a CC, this will tie the drawbar to that controller immediately, the only drawback to this method is that you can't invert the direction of the drawbars and that if that controller is already pre-mapped, it might have no effect, so it's better to use the first method or to select the "deactivate all" mapping preset before doing that.
 
Just remember that you can't use both features at the same time, by default, the drawbars are tied to a CC, so if you want to use your own CCs, you need to set the CC value in the assignment panel to -1 to avoid conflict.
 
If you want to invert the direction of the drawbars, you can do so by clicking on the "invert drawbars".
 
If you want to assign simple buttons that only send one value to the percussion buttons for example, you can assign the correct CC and select the "toggle buttons".
 
Many people use the sustain pedal as the leslie speed control. If you want to use it as a toggle, just select the "toggle rotation speed" and the rotary speed will simply be toggled everytime you press your pedal, just remember that you also need to set the Rotating Speaker Speed to 64 as well.
 
As a few users rquested it, so we added the possibility to use the sustain pedal to sustain notes even if this is not available on the original machine. Just select the "use sustain pedal" button and all pressed notes will be held.
 
 

Alternative amplifiers

Vintage organs are used for Jazz, Blues and Gospel for which they usually use a rotary speaker, but for Rock and pop music, regular amps are used.
 
We added a few amp models that you can pair with the spring reverb, the vibratos and the saturation so that you can get the vintage rock sound very easily.
 
You can also use the version 1 of the leslie if you like the sound of it but with all of the new features and improvements.
 
By selecting the cabinet menu, you get access to more than 15 cabinet simulations in both mono or stereo.
 
This selection includes many models like a twin reverb, a Rhodes amp, a Mesa Boogie, a Bassman, a Gibson and also a mix of heads and speakers and others. There is even a Markbass Bass amp for the very low end.

 

The sound as if you were in front of it

We like to make our libraries as realistic as possible, and that includes having the feeling that you are actually playing the instrument, so every acoustic sound that the real machine makes is there as well, including the leslie speaker, each model of Leslie speaker we sampled has its own acoustic noise.
 
Solo interface
 
Variant1
SpecialsDec 15, 2019