Both versions include virtual mic-distance options, with one mic for the bass rotor and a stereo pair for the horn. One acts as a bypass and the other as a speed change, while pressing both applies the brake. The small but solid stompbox has no knobs, just a slide switch for presets A or B and two footswitches. The hardware is basically the same and both feature 48kHz 24-bit conversion, but some of the preset parameters and edit options are slightly different. The Mini comes in two versions, one tailored for guitar, the other for organ. The II version, reviewed here, features updated guitar-mode voicing and smoother modulation in the close-mic positions, and is joined by a more compact, simpler to use and less costly version, the Mini Vent. After considerable research and development, he created the Ventilator, reviewed in SOS December 2011 ( ). Guido Kirsch, designer of the Access Virus synth, decided to model this complexity, as he was dissatisfied with the available Leslie emulations. There’s also the position of the mics to consider: the closer the mics, the more pronounced the stereo effect and less roomy the sound. #PLAY SOUNDS ON VENT PLUS#The two motors plus brakes allow the high and low rotors to run at different speeds, rotate in opposite directions, and, when switching from slow to fast or applying the brakes, change speed at different rates. The tonality and amplitude also change as the drum or horn aperture moves away from the listener’s axis, and internal cabinet reflections add further complexity. The design of these transducers and their baffle systems imparts a sonic signature, as does the enclosure, and the motion adds Doppler pitch modulation. The two frequency ranges are split via an 800Hz crossover, and the amps make their own sonic contribution, especially when overdriven. The sound is created via a rotating drum reflector for the bass end and a rotating horn fed from a static tweeter (counterbalanced by a dummy horn) for the highs. Recreating the sound of a Leslie speaker is not trivial, as there are so many interacting acoustic, mechanical and electronic elements. Unfortunately, most attempts to date don’t sound completely authentic. Given the inconvenience, there’s a real appetite for convincing emulations. Second-hand Leslie speakers can be cheaper than a stompbox, but they’re large, heavy and often unreliable. Could authenticity lurk in these tiny boxes? So many Leslie speaker emulators are mere approximations.
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