B's Knees XS Manual

7/25/2019 B's Knees XS Manual

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Thank you for purchasing the DCP productions "B's Knees" ClassicOrgans soundbank for the Yamaha Motif XS synthesizer/workstation.This soundbank utilizes the Motif XS internal WaveROM andrequires no external samples, therefore, the installation of extra user

RAM in Motif is not required.

It is recommended that you purchase a volume pedal for your MotifXS to use these organ voices most effectively. The organ was theoriginal "synth", and it was first used to replace the orchestra inchurches where a real orchestra was either unaffordable, or wouldnot physically fit in the church due to space limitations. The use of thepedal to create "volume swells" was an integral part of early organtechique and still is today.

Bs Knees was the very first third-party soundbank available for theMotif family of synth workstations. The XS version of Bs Kneesrepresents a significant improvement over previous versions of thelibrary. Rotary speaker sound, scanner vibrato, percussion triggerbehavior, noise, leakage, keyclick sound and behavior, andtonewheel character are now more authentic, and several of thevoices feature additional drawbars (up to 8), taking advantage of theXS 8-element architecture and new organ sample waveforms.


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Some Organ History

The huge pipe organs used switches (or "tabs") to activatecombinations of pipes, which would simulate brass, reed, flute, andstring sounds. The Hammond electronic organ used a series ofdrawbars to control the sounds, the 16' drawbar corresponding to the16' pipe, the 8' drawbar corresponding to the 8' pipe, and so on.Basically, the Hammond electronic organ produced sine wave toneswhich when combined in different configurations created morecomplex timbres. To try and put it simply, the even numbereddrawbars were used to create fundamentals and the odd numbereddrawbars added overtones, more or less.

The Hammond organ had other peculiarities in its design whichcontributed to the famous Hammond sound still used in popularmusic today, decades after its invention. Inside the Hammond are 96notched "tonewheels" of different shapes and sizes which spin at acertain speed within a magnetic field. The rotating tonewheels createan electric current in a coil, much like a vibrating string on an electricguitar creates a current in an electric guitar pickup (see illustrationbelow).


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Unlike a modern synth, the Hammond organ was basically an electro-mechanical device. The combination of the spinning tonewheels,motors, magnetic fields and wires produced a particular backgroundnoise called "leakage", which was something like white noise withmetallic overtones. The keyboard mechanism used contacts whichwhen dirty produced an audible "click" when being played. This"keyclick" sound became part of the desirable Hammond "vibe" as

well. A percussive bell-like overtone (called "percussion", naturally)was added to later model Hammonds and was used by Hammondplayers to accentuate the sound of the organ.

LESLIE SPEAKER

The final part of the Hammond organ sound was (and still is) theLeslie rotating speaker cabinet. The organ was hooked up via a multi-pin cable to the Leslie cabinet, which was about the width of a kitchenstove and two thirds as high as a refrigerator (although smallermodels were built as well). The signal from the organ is fed to anamplifier which in turn feeds two speakers a woofer, pointeddownward towards the bottom of the Leslie cabinet and into a rotatingbaffle called a rotor, and a smaller hi-frequency speaker upwardtowards the top of the cabinet, into a rotating twin-horn assembly(looks like a propeller) called a horn.


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LESLIE SPEAKER CABINET

Using a footswitch or switch connected to the organ itself, the playercould vary the speed of the horn and rotors from slow to fast and

back to slow. And the truth of the matter is that the Leslie cabinet(invented by a man named Don Leslie) was designed to keep theorgan from sounding too static and boring.

The first Hammond organ, the model A, was introduced in the 1930'sby its inventor, an engineer named Laurens Hammond. IronicallyHammond didn't play the organ himself, as he wasn't a musician. TheHammond Model B was introduced in 1955, but was basically thesame organ as the Hammond A, with a different cabinet. TheHammond B, in all its incarnations (B, B2, and B3) was followed by

the Hammond C3, M3, L100, and others. However, it was theHammond B3 that gained the most popularity and is still the mostwidely sought organ sound.


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In the mid 1970's the last of the original Hammond B3's was built.Since then, a number of "B3 wanna-be's" or clonewheel organshave been designed, built and sold to musicians. These are alldigitally-controlled keyboards, most with wood cabinetry that mimicsthe original B3's look. The first Hammond B3 soundalike was Korg'sfirst CX3, introduced in the early 1980's. It was later discontinued buta "new" CX3 was introduced by Korg for the new millennium.Roland's first B3 wannabe was the VK7, and the Hammond-Suzukicompany (owned by Suzuki) produced the XB and XK series organsto address the demand for the B3 sound. Currently Hammond-Suzukimarkets a new B3 which looks exactly like the original B3 and usesdigital modeling to reproduce the electromagnetic B3 tone.

A REAL B3

Has two 61 key keyboards, called manuals. Each manual iscontrolled by a row of nine drawbars, labeled 16, 5 1/3, 8, 4, 2 2/3,2, 1 2/3, 1 1/3, and 1. (see picture below).

Each manuals drawbars are pulled out to varying degrees and invarious combinations to produce different organ sounds.


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The Motif XS would need nine elements per voice to allow all ninedrawbars to be represented (plus an additional 4 to include keyclicksand percussion). Since the XS has only 8 elements, some BsKnees voices include up to 8 drawbars but no voices include all 9.To conserve polyphony in Performance and Song/Pattern Mix modes,there are many Bs Knees voices which consist of just 2 to 4elements. Thus, the voices in Bs Knees could be thought of asemulations of Hammond B3 presets featuring the drawbar settingsappropriate for those presets.

TO LOAD THE VOICES:

FROM THE DOWNLOADED ZIP FILE TO USB DEVICE (JUMPDRIVE or FLASH DRIVE):


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CAUTION: Before you load Bs Knees into your Motif XS,

MAKE SURE you have backed up any data you want to

save onto a USB storage medium (and your computer).

Loading Bs Knees will overwrite the data that exists

in the Voice and Performance User 3 banks.

1. Insert your USB device into your computers available USB slot. Its iconshould appear on your desktop.

2. Navigate to the Bs Knees Motif XS folder and double-click on it to openit.

3. Navigate to the folder called Bs Knees XS ALL File and double-click toopen it.

4. Copy the file called BsKnees.X0A to your USB devices icon (by eitherdragging the file directly to the icon, or going to your file menu and

choosing Copy and To and selecting the USB device as yourdestination).

5. When the file has copied completely to your USB device, properly ejectthe USB device and insert it in the slot labeled TO DEVICE on the rearpanel of your Motif XS. You will see a screen message that saysConnecting to USB device.

6. Press the FILE button on the front panel of the Motif XS. Use the cursorbuttons to move up to the top of the screen so that the Device field ishighlighted and turns blue-green. If necessary, turn your jog wheel to theright until you see the name of your USB device in the field. This willindicate that your USB device has been selected.

7. Using the cursor down buttons, cursor down to the first named folder inthe display and then turn the jog wheel to further move to the file calledBsKnees.X0A. The file name will highlight in blue-green.

8. Using the cursor buttons, cursor down to the field marked Type andmake sure it is set to all.

9. Press SF2 LOAD. Then press the YES button on your XS.10. The Bs Knees library will load 128 voices to your VOICE User 3 bank

and 8 performances to your PERFORMANCE User 3 bank.11. To select the first voice, press the VOICE button, then the User Bank 3

button, and then button A1 to begin.

FROM THE DOWNLOADED ZIP FILE TO USB CD DRIVE:


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CAUTION: Before you load Bs Knees into your Motif XS,

MAKE SURE you have backed up any data you want to

save onto a USB storage medium (and your computer).Loading Bs Knees will overwrite the data that exists

in the Voice and Performance User 3 banks.

1. Connect a USB CD-ROM drive to your Motif XS To Device slot locatedon the rear panel of the Motif XS. Power up the drive. You will see amessage in the XS display that reads Connecting to USB device.

2. Insert a blank CD in your computers CD drive. Its icon should appear onyour desktop..

3. Navigate to the folder called Bs Knees XS ALL File and double-click to

open it.4. Copy the file called BsKnees.X0A to the CD (by either dragging the file

directly to the icon, or going to your file menu and choosing Copy andTo and selecting the CD as your destination).

5. When the file has copied completely to your CD, rename the CD tosomething you want (like Motif XS stuff), properly eject the it and insert itin the CD-ROM drive connected to your Motif XS.

6. Press the FILE button on the front panel of the Motif XS. Use the cursorbuttons to move up to the top of the screen so that the Device field ishighlighted and turns blue-green. If necessary, turn your jog wheel to theright until you see the name of your CD in the field. This will indicate that

your CD has been selected..7. Using the cursor down buttons, cursor down to the first named folder in

the display and then turn the jog wheel to further move to the file calledBsKnees.X0A. The file name will highlight in blue-green.

8. Using the cursor buttons, cursor down to the field marked Type andmake sure it is set to all.

9. Press SF2 LOAD. Then press the YES button on your XS.10. The Bs Knees library will load 128 voices to your VOICE User 3 bank

and 8 performances to your PERFORMANCE User 3 bank.11. To select the first voice, press the VOICE button, then User Bank 3

button, and then button A1 to begin.


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IF YOU HAVE A MOTIF XS RACK:

YOU MUST USE THE MOTIF XS EDITOR TO LOAD THE SOUNDS.

TO MAKE SURE YOU HAVE CONNECTYED THE EDITOR TO THE RACKPROPERLY, CONSULT THE DOCUMENTATION THAT CAME WITH THEEDITOR. BELOW ARE EXCERPTS FROM THAT DOCUMENTATION:

1. Change the mode to the Voice mode by clicking the [Voice] indication (atthe top leftof the display).If the MOTIF-RACK XS has been connected to the computer properly and theMIDI Port (page 40) hasbeen set properly, starting the MOTIF-RACK XS Editor will set the[ONLINE]/[OFFLINE] indication to[ONLINE], meaning that the settings of the MOTIF-RACK XS Editor and theMOTIF-RACK XS instrumentare synchronized with each other. In this case, the Auto Sync window is called upautomatically via thisstep 1, making step 2 is unnecessary. Go to step 3.

2. Click the [OFFLINE] to call up the Auto Sync window if the[ONLINE]/[OFFLINE]indication is set to [OFFLINE].3. On the Auto Sync window, set communication-related parameters suchas Input Port,Output Port and Device Number in the Data Port section, then set thedirection of DataAuto Synchronization (Global, Current and Voice) in the Auto Sync Settingsection.When you want to use the settings on the MOTIF-RACK XS itself as starting datafor editing, set theboxes of Global, Current and Voice in the Auto Sync Setting to on so that thedata flows from theinstrument to the computer. To use the settings on the MOTIF-RACK XS Editoras starting data, set bothGlobal, Current and Voice to the opposite, so that the arrow indicates data flowfrom the computer to the

keyboard. For details, see page 40.

PROCEDURE FOR SELECTING AND LOADING THE SOUNDS IN BS

KNEES TO YOUR XS RACK:

1.Launch the XS Editor, either within Studio manager, or withinCubase if you are using a version of Cubase. Make sure your


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connections are set up properly ( refer to the documentation for theXS Editor for further info on connection setup).

2. When you go to FILE > select IMPORT >.A screen pops-up that allows you to click on the Open Folder icon

and browse your computer.

On a Windows computer you set the "FILES OF TYPE" option sothat you can search for files of type: "Motif XS All (*.x0a)"

On a Mac computer you set the "ENABLE" option so that you canview "Motif XS All (*.x0a)" files.

Locate and select the file called BsKnees.X0A, which is locatedwithin the Bs Knees Motif XS ALL File folder included in the

download.

3. This will populate the left side of the IMPORT window with a listof the Voices within that ALL data file - which you can look at by"Category" (A.Piano, Keyboard, Organ, Guitar, etc) or by "Bank"(USER 1, USER 2, USER 3, DRUM USER)

4. You can then select the entire USER 3 folder, for example, on theleft and select the USER 1 folder on the right of the screen (whichrepresents their current internal USER bank...

5. Double click IMPORT and the Voices will be bulked to the targetlocation.

6. The Motif XS and the Motif-Rack XS share System Exclusive ID, soyou can bulk data between the two but in order to transferPERFORMANCES it is not direct at all. There is not a PERFORMANCEmode as it is in the keyboard version...

Libraries that contain Performances will not load the Performances

directly, as there is no Performance mode on the XS Rack.

Libraries that employ user arpeggios will not load arpeggios to therack XS, as it is not capable of importing user arpeggios.


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About the voices

There are 128 voices and 8 performances in this soundbank. All buttwo voices are Hammond B3 recreations or B3 "soundalike"recreations (such as the Korg CX3 and Hammond XB2). The "H"section (voices 113 thru 128) contains a collection of "best of" voicesfrom the other banks, with the difference that voices 113-127 havecontrol of Leslie speed assigned to aftertouch. The last voice, H16No Leslie does not have the Leslie effect, so that you may use it ifyou are running your Motif XS into an external rotary speaker cabinet.

SLIDER CONTROLS

Some Bs Knees organ voices consist of 8 elements, most consist offewer than 8 elements. Each elements volume can be controlled viaits corresponding slider. You can adjust the organ sound this way,similar to how you would move the drawbars on a real Hammondorgan.

CAUTION - MOVING SLIDERS TOO FAR UP MAY CAUSE THESOUND TO "OVERLOAD" OR CLIP BECAUSE YOU ARE SETTINGTHE VOLUME OF THE UPPER DRAWBARS TOO HIGH!

If a slider controls an element that contains a sound other than adrawbar (such as keyclick or percussion) then moving that slider upand down raises or lowers the level of that sound.

To restore the original settings for a voice, re-select it. For example, ifyou are on voice A1, select voice A2, then select voice A1 again..


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PITCH BEND, MOD WHEEL, RIBBON CONTROLLER

The pitch bend controls the pitch of Bs Knees voices. The mod wheelcontrols Leslie speed (slow to fast or fast to slow). The ribboncontroller is not assigned in the Bs Knees voices.

ASSIGNABLE FUNCTION SWITCHES

In most Bs Knees voices, Assignable Switch 1 controlsvibrato/chorus on/off. Assignable Switch 2 will usually be inactive,except in the case of some split voices (left hand bass/uppermanual voices, or double-manual split voices).

All special assignments or notable voice characteristics will be

included in the information for each voice.

EFFE TS ROUTINGS

In almost all cases the sound of the organ is fed first thru the ampsimulator (Insertion A) where the amount of distortion drive can beadjusted and either tube or solid-state amplifier character can beadded. Then the sound is fed from there to the rotary speaker effect

(Insertion B). This simulates the routing in a "real-life" situation wherethe signal from the organ is first fed through a pre-amp/amp whichthen drives the Leslie speakers.

In some voices there is no amp simulator engaged, and the effectsrouting is organ sound to rotary speaker first (Insertion B), then to theequalizer (Insertion A). The roatry speaker (Leslie) is always InsertionB.

ADJUSTING THE LESLIE EFFECT


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You can even adjust the rotary speaker (Leslie) effect for each voiceaccording to your personal taste. Here's how:

1. Call up a Bs Knees voice.2. Press EDIT and F6 (EFFECT).3. Press SF3 (InsertionB) to access the Leslie parameters page.

On the left side of page 1 of this display, you will see:

"Speed Control - sets the default speed for the Leslie, either slowor fast.Drive Rotor sets the depth of the rotor (rotating baffle in thelower portion of a Leslie which the woofer or low end speaker isfed to).

Drive Horn sets the depth of the horn (rotating speakerassembly which produces the highs)Rotor/Horn Balance sets the balance between the highs andlows (the horn and the rotor).Mic L-R Angle - adjusts the angle of the "virtual microphones"used to pick up the Leslie cabinet's sound. Values closer to 0produce a narrower image with more pronounced highs, valuescloser to 180 produce a wider, more diffuse image with more lowfrequency content.

Slow-Fast Time of R sets the rate at which the rotor goes fromslow to fast speed.Slow-Fast Time of H sets the rate at which the horn goes fromslow to fast speed.

On the right side of page 1 of this display you will see:

Rotor Speed Slow - Rotor slow speed setting.Horn Speed Slow - Horn slow speed settingRotor Speed Fast - Rotor fast speed setting

Horn Speed Fast - Horn fast speed setting.EQ Low Frequency - adjusts the Leslie Equalizer's lowfrequency (bass) setting.EQ Low Gain - adjusts the Equalizer's low frequency amount.EQ High Frequency - adjusts the Equalizer's high-frequency(treble) setting.EQ High Gain - adjusts the equalizer's high frequency amount.


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MORE NOTES:

SPEEDS: Setting the horn or rotor speeds to values that are too

high will result in rotary speaker sounds that are lessauthentic/realistic.

EQ: In most cases it is better to reduce the EQ Low Gain settingto make a sound that is brighter.

AMP/DISTORTION: In organ sounds that employ an ampsimulator feeding the rotary speaker, setting the drive parameterstoo high can result in an ugly fuzzy, buzzy, or clipping sound. Theamp simulator settings in Bs Knees have been carefully designed

to provide optimal realism and overdrive tone in most cases it isnot necessary to adjust the amp simulator/distortion driveparameters.

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PRESS VOICE BUTTON, THEN USER BANK 3 BUTTON, and then press A1 tobegin.

A1 - THE B3 - Basic "all around" Hammond B3 sound with 7drawbars and percussion.

A2 - Leakage - Characteristic sound of Hammondwith"leakage"noise caused by tonewheel/magnetic field interaction.

A3 Whistle Vibrato - Hammond sound with emphasized "whistle"caused by spinning horn and rotors in Leslie cabinet.

A4 - 16-8-4-2 - Hammond organ with 16', 8', 4' and 2' drawbars pulledout.

A5 - 16-4-2-1 - Organ with 16', 4', 2' and 1' drawbars out.


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A6 Chorus Vinrato 1 - Full organ sound with chorus vibratoswitched on. Third harmonic percussion is engaged.

A7 Chorus Vibrato 2 - Same as A6 but without percussion.

A8 Purple Smoke - Classic organ sound from Deep Purple's"Smoke On The Water" song. Jon Lord, Deep Purple's organist,actually used a Hammond model M organ and fed Leslie cabinetsdriven by guitar amp heads. He had the Leslie "braked", so the rotorswouldn't spin unless he kicked the Leslie into high speed. In thisvoice the Leslie is set to a very slow speed but not entirely stopped.

A9 - Thank You - organ sound from Led Zeppelin's "Thank You" songon their second album, Led ZeppelinII.

A10 Ladies Man - "Ladeez, if any of you out there are not tooskanky and weigh less than three hundred pounds" if youremember that comedy bit from Saturday Night Live, this was thetype of organ sound that accompanied the bit. It's actually based onthe organ sound from Booker T.'s version of "Green Onions".element 4 = percussion level; element 5 = note-on keyclick level;element 6 = note-off keyclick level.

A11 - Pale Shade - Organ sound similar to the one heard on ProcolHarum's classic rock hit, "A Whiter Shade of Pale". 8-drawbar (8element) sound.

A12 Tube Drive 1 - Hammond B3 thru slightly overdriven, grittysounding Leslie.

A13 - GimmeSome - Heavily distorted Hammond organ sound from"Gimme Some Lovin" the old Spencer Davis Group hit (note: SteveWinwood sang the lead). Quite possibly the most wildly distorted

Hammond organ sound ever heard on a record.


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A14- Green Eyes - Percussion-heavy sound from Sugarloaf's hit,"Green-Eyed Lady". Plonk single bass notes, lower the first drawbaramount and turn up the reverb for the most authentic recreation of thesound.element 6 = note-on keyclick level; element 7 = note-off keyclicklevel; element 8 = percussion level.

A15 - Jazz Fast - Four-drawbar jazz organ sound with Leslie set tofast, no percussion.

A16 - Jazz Slow - Similar to Jazz Fast but with slow Leslie at default.

B1 - Yes Organ - Not Rick Wakeman's sound - Tony Kaye's sound.Tony was Yes' first keyboardist, and it's quite possible that his organsound was more distinctive than Rick's. Thin on the low end,unusually heavy on the overdrive, it was most likely the kind of organsound achieved by pulling one of the tubes out of the Leslie's poweramp section which caused heavy distortion at a lower volume (it alsoshortened the life of the remaining power amp tubes).

B2 - ELP C3 1 - Hammond C3 organ sound similar to the one used

by Keith Emerson on "Tarkus" - percussion heavy,overdriven,somewhat less vibrato and reduced volume on upperdrawbars.

B3 - ELP C3 2 - Emerson's C3 sound with upper drawbars addedback in, slightly less percussion, heavy chorus/vibrato and a little lessoverdrive.

B4 - ELP C3 3 - ELP C3 sound with no vibrato/chorus and nopercussion, similar to diapason church organ setting.

B05 - Burn Marks - Old school Hammond players remember thatback in the day, you hadn't paid your dues unless your B3 had burnmarks on the cabinet top caused by placing your cigarettes therewhile you tore into a slammin' solo. The more burn marks, the moredues you had paid - kind of like the Old West gunfighters belts withnotches for each man they gunned down.


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Wheezing, whirring, noisy - that was the old smoky blues-clubHammond sound, recreated here.

B6 Burn Marks 2 - Variation on Burn Marks, different drawbar andpercussion settings and amp/Leslie tone.

B7 Burn Marks 3 - A third variation on the Burn Marks voice.

B8 - New CX3 1 - Around the turn of the millennium, Korg releasedtheir updated CX3 organ. Their first CX3, which was marketed for afew years in the 80's was the first Hammond organ soundalike (I can'tcount Crumar's T1 as sounding anything remotely like a Hammond,sorry). The "new" CX3 sports a lot of improvements in the sound,physical modeling of the Hammond tonewheels and Leslie effect,

more programmability and a larger screen than the original CX3.

B9 - New CX3 2 - Variation on the sound of A24 organ.

B10 - Purple Hush - Organ sound from Deep Purple's first hit "Hush".

B11 - 80's CX3 - Sound of Korg's first CX3 introduced in the 1980's.The overdrive was somewhat less than authentic, with a buzzycompressed quality, and that sound is reproduced here.

B12 - Zombie B - Plinky percussive organ sound from the Zombies'hit "Time of The Season".

B13 - Keyclick 1 - B3 with heavy "keyclick" sound, which was causedby dirty key contacts. Deemed undesirable at first, it fell into favorwith Hammond jazz organists and became part of the classicHammond "vibe".element 5 = percussion level; element 6 = note-on keyclick level;element 7 = note-off keyclick level.

B14 - Keyclik 2 - Variation on B13.

B15 - Keyclik 3 - Variation on B13.


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B16 - Stormy 1 - Basically a vibrato Hammond organ sound, with justthe 16' and 1'3/5 drawbars pulled out. For those slow, "StormyMonday Blues". 8-drawbar voice.

C1 - Stormy 2 - Same as Stormy 1 but with no vibrato. 8-drawbarvoice.

C2 - XK 2 - Recreation of the Hammond Suzuki company's XK 2organ sound. 7 drawbars and percussion.

C3 - Theater 1 - Full drawbar sound with no percussion and vibratoswitched on. Think "church", cleaner tonewheel sound.

C4 - Theater 2 - Variation on C03.

C5 - Wedding - Hammond "wedding" church organ sound, with novibrato or Leslie.

C6 - Tonewheels - "Unstable" Hammond tonewheels sound. If thevoltage fluctuated (either at the AC circuit or within the Hammondcircuitry itself) the tonewheels would spin at a fluctuating rate andcause a sound similar to this.

C7 - Leslie Stopped - Sound of Hammond through "braked" Leslie,with the horn and rotor not stationary. Savvy Hammond players couldchange the tone of the Hammond simply by releasing the Lesliebrake for a very brief moment, then stopping it again, then releasing itagain, then quickly stopping it again. This put the horn and rotors indifferent physical positions. You can simulate this by pushing the modwheel forward VERY briefly and IMMEDIATELY returning it to thebottom position. The Leslie rotors will only move a "little bit" and thenstop in a different position. This type of sound is favored by JoeyDeFrancesco and other jazz organists.

C8 - Stormy 3 - Variation on Stormy 2 (C02)with Leslie set to fast.


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C9 Double Manual 1 - The Hammond B3 has two keyboardmanuals, with two sets of drawbars, one set controlling the uppermanual, and one set controlling the lower. Thus on the Hammond youcan set the lower manual for a different sound for comping, and theupper manual a more cutting sound for solo work, or vice versa.This voice recreates the "double manual" setup of the B3, with the

split at C3 on the keyboard - lower manual to the left of C3, uppermanual from C3 on up.

Assgn. Switch 1 = chorus/vibrato for lower manual; Assgn Switch 2 =chorus/vibrato for upper manual.

C10 Double Manual 2 - Variation on C09.Assgn. Switch 1 = chorus/vibrato for lower manual.

C11 Double Manual 3 - Another variation on C09.

Assgn. Switch 1 = chorus/vibrato for lower manual; Assgn Switch 2 =chorus/vibrato for upper manual.

C12 - Bass Walk 1 - Split Hammond organ sound with bass notes inleft hand below C3.

Assgn Switch 1 = chorus/vibrato for upper manual.

C13 - Bass Walk 2 - Bass/organ split with different drawbar sound onthe right.

Assgn Switch 1 = chorus/vibrato for upper manual.

C14 - Bass Walk 3 - Variation of bass/organ sound.Assgn Switch 1 = chorus/vibrato for upper manual

C15 - Bass Walk 4 - Variation of bass/organ soundAssgn Switch 1 = chorus/vibrato for upper manual


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C16 - Bass Walk 5 - Variation of bass/organ sound.Assgn Switch 1 = chorus/vibrato for upper manual

D1 - Shutdown - The Hammond had two motors - one to start it up(like cranking the engine on an old car) and one to keep it runningand the tonewheels spinning. If you shut the run motor off, the sounddied away and descended in pitch, rather than just abruptly cuttingoff. The result was the kind of sound recreated here.

D2 - Flute Vibrato - Flute tone (Single 8' drawbar out) with vibrato.The Wallflowers song "One Headlight" features a Hammond with thiskind of setting.

D3 - Flute Non-Vibrato - Similar to D02 but without vibrato.

D4 - Tibia 8' - Hammond "church" organ drawbar setting used inplace of Tibia "tab" which was found on early pipe organs.

D5 - Diapason - Hammond "church" organ setting used in place of"Diapason" tab setting on pipe organ.

D6 - Clarinet - Hammond "clarinet" drawbar setting.

D7 - Full Tibias - Full tibia organ setting for church.

D8 - Black Magic - Hammond organ sound from Santana's classic hit"Black Magic Woman" which was originally recorded by FleetwoodMac. Gregg Rollie was Santana's organist at the timethis song was recorded by the band.

D9 - I'm A Believer - The organ sound from the Monkees hit song "I'mA Believer". Many believe that it was a cheezy plastic combo organon the record, but it was in fact a Hammond B3.

D10 - PhoneOrgan - Thin sound of Hammond with only the upperdrawbars out.

D11 - *-*-5-2 - Another (upper drawbars only" Hammond sound.


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D12 - Ringmod 1 - Ring modulated "effect" organ sound similar to theone found on Roland's VK7 organ.

D13 Ringmod 2 - variation on D12.

D14 - Ballpark - Heavy vibrato "baseball park" organ.

D15 Vox Jaguar - Yeah, baby, yeah!! Cheezy, buzzy, a big part ofthe sound of Paul Revere and The Raiders, the Dave Clark Five, andother British Invasion groups of the 60's. It reappeared with avengeance on the Austin Powers soundtracks. (see picture below).

D16 Elka Panther - The Panther was built by an Italian companyand was designed to compete with the Vox Jaguar. It was red shinyplastic, same color as the Vox organ, with stainless steel tubular legs.The sound was closer to a Vox continental, with more overtones anda deeper fundamental than the Vox Jaguar. How do I know this? Ihad one back in the late 60's, and I'm sorry I let it go.(see picture below).


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E1 - 2ndPerc - Basic Hammond organ sound with 2ndharmonic

percussion instead of third harmonic percussion.

E2 James Gang - Organ sound heard on Joe Walsh and the JamesGang song "Tend My Garden", from their James Gang Rides Againalbum. The sound was similar to Tony Kaye's early Yes organ sound,with very heavy overdrive and a lot of grit. Reliable sources tell methat Joe Walsh achieved the sound by pulling one of the power amptubes out of the Leslie, resulting in a heavier distortion at a lowervolume.

E3 - 16-5-2-1 - Specific Hammond drawbar settings sound.

E4 - 16-8-2-1 - Another drawbar setting.

E5 - 16-5-2-2 - Yet another Hammond drawbar setting.

E6 Purple Truckin - Sound similar to Jon Lord's Hammond organon "Space Truckin" from Deep Purple's Machine Headalbum.

E7 - Ladies Two - The Saturday Night Liveorgan sound is back againwith a slightly different flavor.Element 4 = percussion; element 5 = note-on keyclick level; element6 = note-off keyclick level.

E8 - Foreignerr - Classic rock organ sound from "I Wanna KnowWhat Love Is" on Foreigner's album Foreigner 4.


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E9 - Styx - Organ sound from Styx's classic rock song "Blue CollarMan".

E10 - Jazz Fast2 - Jazz organ sound with fast Leslie, variation onA15.

E11 - Jazz Slow2 - Same as E10 but with slow Leslie.

E12 - Jazz Fast3 - Variation on E10, fast Leslie.

E13 - Jazz Slow3 - Same as E12 but with slow Leslie.

E14 Burn Marks 4 - The smoky, gritty, wheezing blues club

Hammond with different settings, fast Leslie.

E15 BurnMarks 5 - Variation of E14.

E16 BurnMarks 6 - Variation of E14.

F1 BurnMarks 7 - Variation of E14.

F2 - XK2 2 - Variation of Hammond Suzuki XK 2 organ sound.

7 drawbars and percussion.

F3 - *-5-4+Prc - Upper drawbars plus percussion, lower drawbarspushed in.

F4 Full Drive - Full drawbar Hammond organ with heavy tubeoverdrive and no percussion.

F5 Full Drive 2 - Variation on F04.

F6 - 16-5**+Prc - 16' and 5' drawbars out, with percussion.

F7 - Ballpark 2 - Another version of the "baseball" organ sound.

F8 Super Whistle - 16' and 2' drawbars out.


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F9 - Bass Walk 6 - Another version of bass/organ split voice. Organwith Leslie on fast.

Assgn. Switch 1 = chorus/vibrato for upper manual.

F10 - Bass Walk 7 - Variation on F09.Assgn. Switch 1 = chorus/vibrato for upper manual.

F11 - Stormy 4 - Another version of the bluesy "Stormy" organ sound.

F12 - Theater 3 - Another full drawbar, cleaner church organ soundwith vibrato.

F13 - Tonewheels 2 - Variation of "Tonewheels" voice, typical ofsound caused by fluctuating AC voltage.

F14 - 8-4-2-2 - Hammond drawbar setting.



G1 - 16-*-*-1 - Hammond drawbar setting.

G2 Double Manual 4 - Split organ sound, recreating "doublemanual" or "dual keyboard" settings.Assgn. Switch 1 = chorus/vibrato for lower manual.

G3 Double Manual 5 - Dual manual organ sound variation.Assgn. Switch 1 = chorus/vibrato for lower manual. Assgn Switch 2 =chorus/vibrato for upper manual.

G4 Double Manual 6 - Dual manual organ sound variation.Assgn. Switch 1 = chorus/vibrato for lower manual. Assgn Switch 2 =

chorus/vibrato for upper manual.

G5 Chorus Vibrato 3 - Chorus/vibrato organ sound variation.

G6 Chorus Vibrato 4 - Chorus/vibrato organ sound variation.

G7 - Pastoral - "Gentle" or "peaceful" organ sound for interludes.


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G8 Thru Guitar Amp - Hammond B3 thru guitar amp instead ofLeslie. Yes, back in the day, it was done often in heavy rock bands.Usually the amp of choice was a Marshall or Hiwatt stack.

G9 Thru Guitar Amp 2 - Organ through guitar amp variation.

G10 Thru Guitar Amp 3- Organ through guitar amp variation.

G11 - Vintage - Lower drawbars organ sound with vintage tubewarmth.

G12 - 80's CX3 2 - Vintage Korg CX3 sound with vibrato.

G13 - Arrgent - The Hammond organ sound from the classic 60'sArgent rock hit "Hold Your Head Up".

G14 - Throaty - Warm, dark, tube-driven Hammond sound with extragrit.

G15 - ELP C3 4 - Variation of Keith Emerson's C3 vibrato sound.

G16 - Leakage 2 - Variation of classic Hammond "leakage" sound,characterized by metallic noise created from interaction oftonewheels and magnetic fields.

H1 THE B3 (AT) - Same as A1, but with Leslie speed controlled byaftertouch (LEAN on those keys..)

H2 - 16-4-2-1 (AT) - Same as A5 with Leslie on aftertouch control.

H3 Pale Shade (AT) - Same as A11 with Leslie on aftertouchcontrol.

H4 Gimme Some (AT) - Same as A13 with Leslie on aftertouchcontrol.

H5 Green Eyes (AT) - Same as A14 with Leslie on aftertouchcontrol.


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H6 - Jazz Slow (AT) - Same as A16 with Leslie on aftertouch control.

H7 - Zombie B (AT) - Same as B12 with Leslie on aftertouch control.

H8 - Keyclick 1 (AT) - Same as B13 with Leslie on aftertouch control.

H9 - Keyclick 2 (AT) - Same as B14 with Leslie on aftertouch control.

H10 Keyclick 3 (AT) - Same as B15 with Leslie on aftertouchcontrol.

H11 - Stormy 2 (AT) - Same as C1 with Leslie on aftertouch control.

H12 Bass Walk 1 (AT) - Same as C12 with Leslie on aftertouch

control.

H13 Bass Walk 2 (AT)- Same as C13 with Leslie on aftertouchcontrol.

H14 FluteNon-Vibrato(AT) - Same as D2 with Leslie on aftertouchcontrol.

H15 - 2ndPerc (AT) - Same as E1 with Leslie on aftertouch control.

H16 - No Leslie - Hammond organ sound with no Leslie effect. Usethis sound if you are running your Motifs outputs into a Lesliesimulator like Voce's Spin or any Motion Sound product, etc.

PPPEEERRRFFFOOORRRMMMAAANNNCCCEEESSS111---888

There are 8 demonstration Performances included in the Bs Knees library.These are simple organ duo/trio performances set up with a drum backing,left hand bass, and organ sound on the right. The performances can beaccessed by the following method:


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1. Press the PERFORM button on your Motif XS.2. Press the USER 3 bank button and then select A1.

A1 Be-Bop DuoBe-bop jazz organ performance with drumkit, left hand bass and organ.

A2 ShortcakesFunk organ performance with drumkit, left hand bass and organ.

A3 - MovinDriving organ performance with drumkit, left hand bass and organ.

A4 6/8 Time

Slow blues shuffle organ performance.

A5 Rock PurpleClassic rock organ performance (think Deep Purple).

A6 Funkin ItFunky organ performance with drumkit, left hand bass and olrgan.

A7 SmoothJammStraight-ahead organ performance.

A8 ReggaeHouseReggae with a house beat organ performance.


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Documents

B's Knees XS Manual