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organ from “a whiter shade of pale” by procol harum | ToneDB

a whiter shade of pale

procol harum

organ

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Tone Profile

A majestic, melancholic, and instantly recognizable church-like organ sound, defined by its swirling Leslie speaker effect and Bach-inspired melodic lines.

Signal Chain

Instrument: Hammond M-102 Spinet Organ

Amp: Leslie 145 speaker cabinet

Microphone: Stereo microphones on the upper horn (e.g., Neumann U67s or Shure SM57s) and a dynamic microphone on the lower rotor (e.g., AKG D12, D20 or Electro-Voice RE20).

Processing: Helios console EQ/preamp coloration (Olympic Studios), Ampex 4-track tape saturation

Other: Leslie speed mostly on 'Chorale' (slow), with 'Tremolo' (fast) for fills/emphasis. Hammond C3 Chorus/Vibrato. Percussion: On, Soft, Fast, Third Harmonic. Drawbar registration: 888000000 (primary, though 888000008 also cited).

Recording Notes

  • Recorded in May 1967 at Olympic Sound Studios, Studio One, London.
  • Engineered by Keith Grant and produced by Denny Cordell.
  • Recorded to an Ampex 4-track tape machine (likely AG-440).
  • The organ part, played by Matthew Fisher on his Hammond M-102 and Leslie 145, was a central element of the song, recorded live with the band.
  • The distinctive sound is a combination of the Hammond/Leslie, the Bach-influenced composition (drawing from Bach's 'Air on the G String' and 'Sleepers, Wake!'), and Fisher's playing style.

Recreation Tips

  • Start with the primary drawbar setting: 888000000. Experiment by slightly pulling out the 9th drawbar (1' flute) to 888000008 for added brightness, as sometimes cited by Matthew Fisher.
  • Engage the C3 Chorus setting on the Hammond (Vibrato Upper rotor, Chorus Lower rotor).
  • Set percussion to: On, Soft volume, Fast decay, Third harmonic.
  • Utilize the Leslie speaker's 'Chorale' (slow) speed for the main melodic passages. Switch to 'Tremolo' (fast) for dynamic emphasis or during fills, practicing smooth speed transitions.
  • If miking a real Leslie, use a stereo pair on the horns to capture the iconic swirl, and a separate mic on the bass rotor. Experiment with mic placement for desired room ambiance.
  • A touch of plate reverb can enhance the spatial quality, though the original relied on the studio's natural acoustics and the Leslie's movement.

Sources