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organ from “won't get fooled again” by the who | ToneDB

won't get fooled again

the who

organ

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Tone Profile

A defining, pulsating, and rhythmically complex organ sound, processed by a synthesizer to create its iconic, driving texture. It forms the song's signature motif and is instantly recognizable.

Signal Chain

Instrument: Lowrey Berkshire Deluxe TBO-1 Organ

Amp: EMS VCS3 Synthesizer (as audio processor)

Processing: EMS VCS3 Sample and Hold (S&H) modulating Voltage Controlled Filter (VCF), EMS VCS3 LFO triggering S&H circuit, Possible VCA modulation by S&H for gating effect

Other: The organ's output was fed directly into the EMS VCS3's input. The organ likely played sustained chords, with the VCS3's S&H circuit creating the rhythmic, sequenced pattern by modulating the filter.

Recording Notes

  • The iconic organ/synth part was largely pre-recorded by Pete Townshend at his home studio on a 1/4-inch 8-track tape machine.
  • The core instrument is a Lowrey Berkshire Deluxe TBO-1 organ.
  • The organ signal was processed through an EMS VCS3 'Putney' synthesizer.
  • The key to the sound is the VCS3's Sample and Hold (S&H) circuit, driven by a Low-Frequency Oscillator (LFO), modulating the Voltage Controlled Filter (VCF) applied to the organ's output.
  • This created the distinctive rhythmic, pulsating, and somewhat arpeggiated texture from sustained organ chords.
  • The pre-recorded track was then transferred to 16-track tape at Olympic Studios (or possibly Stargroves using the Rolling Stones Mobile Studio) for the main album sessions, engineered by Glyn Johns.

Recreation Tips

  • Start with an organ sound. A Lowrey emulation (e.g., Arturia Organ V) is most authentic, but a full-bodied Hammond-style organ can also work as a base.
  • Route the organ output into a synthesizer or plugin that can process external audio and features a Sample and Hold (S&H) LFO and a resonant filter (e.g., Arturia Synthi V, Behringer K-2, or DAW-internal tools like Ableton's Auto Filter with S&H).
  • Set the S&H LFO to modulate the cutoff frequency of a low-pass filter. The LFO waveform driving the S&H should be a stepped one (like square or random/noise).
  • Play sustained chords on the organ. The S&H modulating the filter will chop these chords into the rhythmic pattern.
  • Adjust the LFO rate to match the song's tempo (approximately 126 BPM). The rhythmic subdivision is typically eighth notes or sixteenth notes.
  • Experiment with the filter's resonance (Q) to emphasize the cutoff frequency and create a more pronounced 'sweeping' or 'percussive' quality to each step.
  • You might also want to modulate the VCA (amplitude) slightly with the same S&H signal or a gate to tighten up the sound, though filter modulation is primary.
  • A touch of analog-style saturation or drive can be added to emulate the character of the VCS3 and vintage mixing consoles.

Sources