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organ from “positively 4th street” by bob dylan | ToneDB

positively 4th street

bob dylan

organ

85% ai confidence

Tone Profile

A bright, swirling, and definitive mid-60s rock organ sound, characterized by the rich tones of a Hammond organ processed through a Leslie speaker, with noticeable speed shifts.

Signal Chain

Instrument: Hammond B-3 Organ

Amp: Leslie 122 or 147 Speaker Cabinet

Microphone: Likely a pair: Shure SM57 or Neumann U67 on the horn, and another SM57, Neumann U67, or Electro-Voice RE20 on the bass rotor.

Processing: Leslie speaker effect (chorale and tremolo speeds), Studio console preamplification and EQ (e.g., Pultec EQP-1A or console channel EQ), Possible light tube compression (e.g., Teletronix LA-2A)

Other: Drawbar settings likely emphasizing fundamental and upper harmonics for brightness (e.g., 888400000 or similar, with C3 vibrato/chorus engaged on the organ). Key element is the manipulation of Leslie speed from slow (chorale) to fast (tremolo).

Recording Notes

  • Recorded on July 29, 1965, at Columbia Studio A, New York City.
  • Al Kooper is widely credited as the organist on this track.
  • The organ is a prominent element in the mix, suggesting careful miking and placement of the Leslie cabinet, possibly in an isolation booth or a separate room to manage bleed.
  • The track was likely recorded live with the band, typical for sessions of this era.
  • The production by Tom Wilson aimed for a full, driving rock sound, a departure from Dylan's earlier folk work.

Recreation Tips

  • Use a Hammond B-3 emulation plugin (e.g., IK Multimedia Hammond B-3X, Arturia B-3 V, Native Instruments Vintage Organs).
  • Set drawbars for a full, bright sound. A good starting point is 888000000; then add upper harmonics by pulling out the 5th, 6th, or 8th drawbars (e.g., 888453002). Adjust to taste.
  • Ensure the Hammond's C3 chorus/vibrato setting is engaged for authentic texture.
  • Utilize a high-quality Leslie speaker emulation. Experiment with mic placement options within the plugin – typically one mic on the horn and one on the rotor.
  • Automate the Leslie speed between 'chorale' (slow) and 'tremolo' (fast) to match the song's dynamics and phrasing. This is crucial for the sound.
  • Add a touch of drive or saturation to the Leslie emulation to simulate tube warmth and slight overdrive.
  • Consider a vintage-style plate reverb or spring reverb emulation, used subtly, as might have been added during mixing.
  • Keep Hammond percussion soft or off, as it's not a dominant feature of this particular organ sound.

Sources