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organ from “don't stop believin'” by journey | ToneDB

don't stop believin'

journey

organ

95% ai confidence

Tone Profile

A classic, powerful rock organ sound with a prominent Leslie speaker swirl and rich harmonics, providing both rhythmic drive and a strong melodic presence.

Signal Chain

Instrument: Hammond B3 Organ

Amp: Leslie 122 Speaker

Microphone: Neumann U87 (on top horn) & AKG D12 (on bottom rotor)

Processing: Studio Console EQ (for clarity and punch, e.g., Neve or API style), Studio Console Compression (light, for dynamic control)

Other: Key elements: Drawbar setting approximation for main riff: 888000000 (upper manual). Percussion: On, Soft, Fast, Third. Vibrato/Chorus: C3. Leslie speaker set to Fast speed. A DI signal taken directly from the organ was blended with the miked Leslie signals during mixing for added fundamental tone and control.

Recording Notes

  • The Hammond B3 organ, played by Jonathan Cain, is a signature element of the song.
  • Recorded at Fantasy Studios, Berkeley, CA, with Kevin Elson producing and Mike Fraser engineering.
  • The Leslie speaker was miked in stereo to capture the characteristic movement and spread of the sound.
  • A DI signal from the organ was also recorded and blended with the miked Leslie to provide more tonal 'meat' and flexibility in the mix, a technique noted by Kevin Elson.

Recreation Tips

  • Use a high-quality Hammond B3 model or emulation (e.g., Arturia B-3 V, IK Multimedia Hammond B-3X).
  • Pair it with an authentic Leslie speaker emulation, ensuring the 'Fast' (or 'Tremolo') speed is engaged for the main parts.
  • Start with a full rock drawbar setting like 888000000 for the upper manual. Adjust to taste.
  • Set percussion to: On, Volume Soft, Decay Fast, Harmonic Third.
  • Engage the C3 chorus/vibrato setting on the Hammond.
  • Recreate the DI/Leslie blend: mix a clean, direct signal from your organ plugin with the output of the Leslie simulation. This adds weight and definition.
  • If miking a real Leslie, use a condenser microphone (like a U87 or similar) on the top horn and a dynamic microphone capable of handling low frequencies (like an AKG D12, D112, or Electro-Voice RE20) on the bottom rotor.
  • Apply subtle EQ to shape the tone and light compression to even out dynamics, mimicking console processing.

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