Best Leslie Simulator For Guitar (2025 Updated)

A rather expensive one-trick pony, but boy oh boy what a trick! Yes it’s mono, but it sounds fantastic and is really convincing in recreating the rotary speaker vibe including the ‘movement’ Plus it adds a really pleasing ‘pre-amp’ sound, touch & feel under the fingers to your tone – short of getting an actual rotary speaker set-up I don’t think one can get closer.

All contained in a standard sized 9V pedal board format that doesn’t take up too much real estate on a crowded board – early days so can’t comment on durability yet but seems robust enough, only time will tell.

Yes it’s expensive for ‘one sound’ but what a sound it is!.

It is very expensive but I think it is the best in its category. For this price they should include the two algorithms though. But never the less the features are very nice even more when used with a switcher.

It’s an expensive bit of kit, but it is the best guitar pedal Ive ever owned. Highly configurable, great sound. You get what you pay for in some cases; this is one of them. Great service from Scan, quick delivery.

Superb little thing – recommended to those who know the difference when it comes to leslie sounds – huge impact when playing at volume ….

This did not disappoint and sounds as good as helix and other way more expensive units. Limitless possibilities with custom ir loading and awesome effects. Plenty of people are making great presets you can load in.

Some of the factory presets are pretty bad considering how good you can make it sound. Using it for recording and it is the best in its price range. Before this i had a nux mg300 and it also sounded great but with a lot less features.

This was a major upgrade in functionality. The effects are great and the only drawback is the limit on how many effect blocks you can use at one time. There’s plenty of room to make great sounds though.

And the effects loop lets you potentially route a whole pedal board or effects unit and assign those effects to a switch. Very glad i bought this. I got it slightly used for 350 bucks. Anyone who says this is complicated just doesn’t get how it works.

I hook it up to my laptop and it has a huge display and is super intuitive. You choose your amp and cab and the effects going before the amp lime od EQ or whatnot and put reverbs and delays after the amp.

Just like you would do on a real amp. Tweak your settings and press the save icon and confirm and its saved how you want it. I think good ir is better than their cabs by a little but the cabs sound great with the right mics etc for the sound you are after.

I was looking at purchasing a Helix LT and upon researching I came across the Pod Go Wireless. It does everything I required from the Helix but at less than half the price, size and weight. You can dial in some great tones, I use it through an 80w Marshall combi straight into the FX return (turning off the cab sim on the Pod) and it sounds very impressive.

The amount of effects to choose from is incredible and you can tweak so many variables to get that perfect tone. The wah treadle is very good but it’s not so great when used as a volume pedal as it doesn’t seem to gradually increase/decrease the volume, it’s almost on/off.

The wireless feature is very good, I’ve not had any connection issues and don’t have to worry about treading on my cable, which I’m very prone to. Overall, for what I need in a jamming/garage band capacity it is perfect and I’m very, very pleased with the purchase.

PMT delivered the next day, it was very well packaged and was the best price I found on the internet.

This thing is very cool. But. it is not easy to use out of the box. I got it and hooked it up and was confused. I watched some you tube videos on it and everybody was like “it’s so easy and a simple platform”.

I beg to differ. Maybe I’m just getting old and looking back at the good old days of just using a few pedals, but unless you are experienced in digital processors, this one might not be right for you.

Again, it is a great processor. The possibilities with sounds are pretty much infinite. But just be aware you’ll be pushing lots of buttons and turning the knobs A LOT! I would buy it again. And I do recommend it for folks recording at home or just couch riffing.

I can also see it being a great piece for studio recording. I can also see it being used in a live setting if you really figure out how to create pre sets to switch back and forth from swiftly. But there is a learning curve.

Buy it, be patient on that learning curve process and you should really like it.

Really happy with this pedal. Use it mainly as a rotary keyboard sound for chords playing three piece. guitar bass and drums. works to break up the guitar sound occasionally without appearing to be over the top with effects.

pretty easy to use on the default settings. gets a little confusing if you try to customise it. which I haven’t so really stoked.

It’s a good pedal, but there is no way to control its intensity. and it is very intense.

Incredible Leslie Simulator! This has to be the best Leslie sound available without having to invest in the real thing.

Excellent sounds, although would like top speed faster. Light is too bright, makes controls hard to see. I wish all pedal makers would put ins/outs etc at the top to make pedalboard planning easier.

When I first received the pedal I did not know how to get the best out of it. After experimenting I have found the pedal to be very useful and enjoy the sounds.

Great purchase, great product! Would one expect any less from Fender Musical Instruments Corporation?

Overall: Before I bought this pedal, my amplified Taylor 224ce Koa Grand Auditorium sounded like cardboard through an acoustic amp. The annoying shrill sounded nothing like my guitar unplugged. I bought the NUX Optima Air on zZounds at a discount because it was used and “blemished.

” When I received it, it looked new to me. I am super happy with the condition of the unit. I did not notice any scratches or blemishes. The Optima Air made a huge difference. The preamp with an IR loaded (Martin D-45 piezo) made my guitar pleasant on the ears again.

I didn’t have to spend a lot of time dialing it in. Most of my dials are near 12 o’clock. The E chord sounds beefy and the D chord doesn’t grate your brain. I will not amplify my guitar without this pedal!.

Overall: I’ve been using the Optima Air for several months now and have been quite pleased with its performance. I run a Gibson G-45 Studio (w/ a Fishman Sonitone) through it, and it does a phenomenal job resurrecting my tone from that horrible piezo “zing.

” The preloaded IR files aren’t bad (I especially like the Martin D-45 and Taylor 314 settings); however, where it really shines is the ability to load third-party IR’s. I got one for a Gibson J-45 and it just about nailed my guitar’s natural, unplugged tone.

The ability to EQ your tone and add reverb is also a nice addition—I set the reverb to about 1/3 and LOVE the sound. Before this, I used a Fishman Aura Spectrum DI (similar tech) but actually prefer the Optima Air.

My only gripes: Wish it had an onboard tuner, and I wish it took a 9V battery (you’ll need to buy an adapter). Otherwise, great product!.

I play a Taylor with the old expression system and a Yamaha nylon silent guitar. It helps the Taylor sound better and makes the Yamaha a new guitar. One thing is that if I unplug my board it will not have amp on when I turn it on.

I must turn it on as soon as I hear my guitar because I know something is missing. I LOVE the Reverb. I do not use a ton, but this is as good as reverb as I have heard for acoustic in twenty years. If the pedal only did the reverb, it might be worth it.

I do not use the IR, I have not found a setting I like but the pedal AMP and REVERB give me everything I need. I wish it were battery powered but it’s not a pizza and therefore can please everybody. I have owned so many acoustic preamps.

This one is simple. I do not need screens after screen. This is truly a plug and play pedal.

I was looking at another rotary pedal, then saw this one at a much lower price. I own a keyboard with a modeled drawbar organ section, and love most things about it except the rotary and overdrive effects.

They are not very realistic. When I hooked up the Lester K, it was like a whole new organ section. The rotary and drive effects sound fantastic. I have now decided to keep the keyboard. To get the best results, you should definitely hook up your keyboard to output in stereo.

Sound: Tonally, this pedal sounds fabulous. I was just in the studio a little over a month ago and had an opportunity to play through a real deal vintage Leslie cab — the room-filling, swirling magic of that cab was unmistakable.

This pedal does a remarkable job of capturing the Leslie vibe, controls and sound. Features: The reason I titled this review “A do-it-all” mod pedal is because prior to picking up a Lester K, I’ve never been big on modulation effects.

Sure, they have their place in music but too much modulation gets old to me very quickly. Because the Lester K has slow and fast settings that are footswitchable, you can quickly go from light flange/phaser type tones to full on Leslie swirl without having to tweak any knobs.

which is huge for a gigging guitarist. I ain’t got time to be all bent over, blowing my back out onstage to tweak a knob just to alter my modulation! Ease of Use: Plugged it in, and by the time them tubes were glowin’ I was making some really cool sounds with the Lester K.

I’ve spent about an hour a day with it over the past week and have found a use for even the most extreme settings on the pedal. Quality: It’s an EHX pedal. so I’m hoping it holds up. To be completely honest, every EHX pedal that I’ve ever owned has spent some time being repaired at some point.

I ain’t kind to ’em, however, but I do expect reasonable durability and some of their products occasionally fall short. Value: I got a price-match from zZounds on this that put the pedal at a price that I felt was fair, and it has definitely knocked my socks off.

It’s the best Leslie pedal out there at a workingman’s price right now for the guitarist that wants the Leslie sound but doesn’t need the added compressor built into the EHX Lester G. Manufacturer Support: The folks at EHX are super cool, and they’re quick to answer any questions you might have.

Bill Ruppert (the guy who does EHX’s killer YouTube videos) is quick to respond to questions on their YouTube channel. The Wow Factor: Had to have a Leslie pedal after using one in the studio, there’s something about the vibe and mojo of a guitar through a Leslie cab that is undeniably cool and classic.

Overall: Overall, I’m very impressed with the sound, tweakability, looks and performance of the EHX Lester K.

Not having a dedicated organ section in my Nord Wave 2, the Lester K takes the organ samples I’ve put in the wave (sampled from a B3 app) from fairly dead and uninspiring sounds, to full on B3 with Leslie.

I love that the speed settings for the hi and low speakers have notches in the centre, which sets the K to the speed settings of the original Leslie speaker. Looking forward to gigging with the Lester K very soon!.

Although I did quite a bit of research on the product, there was a limitation that wasn’t made in clear in the various reviews I’d read. Although you have 9 editable blocks in the signal chain, you can only use 4 to add in effects of your choosing.

2 are reserved for volume/wah pedals, 2 for amp and cabinet and a final 1 for an equaliser. However, there is also an effects loop for adding in external hardware effects. One more thing to consider is that the signal processing chain is linear – you can’t split it like you can with, eg the Helix Floor or LT.

Not deal-breakers for me, but should be considered if you’re thinking of getting one. The unit itself is solidly built and the interface is pretty intuitive considering the complexity of the system. Updating the firmware (which added a number of additional effects) was easy – download the Line 6 Updater software, connect via USB, and it’ll do it all automagically.

The other bit of software to use with it is Pod Go Edit, also available for free from Line 6’s website. Pod Go Edit is basically a computer-based version of the Pod Go editing facilities which lets you load/edit/save effect chains and, if you have your Pod Go connected with USB, any changes made will be immediately reflected on the hardware itself.

It’s all very easy to use. The effects themselves are brilliantly modelled, and there’s a LOT of them. There’s a wide variety of presets included so you can have a good play even before you get into editing things yourself.

Great bit of kit overall.

A bandmate of mine had an early version of the Boss Acoustic Simulator back in around 2004, which according to Wikipedia was before the “COSM” modeling was introduced. He used it as an effect more than as a way to try to make his Tele sound like and acoustic guitar.

I always loved the sound and thought it gave the Tele a unique sparkle that was very different from the traditional compressed bridge pickup tele twang. I finally gave it a try, and the reason it gets four stars is that you really do have to spend some time with this to make it work.

I’d put it more in the category with a guitar synth or the EHX 9 Series the way that I use it – nobody’s going to wonder where I’ve hidden my Hummingbird, and after trying every guitar I own (electric and acoustic) the only guitar that really does it for me is.

my Tele! And by the way, I can get it to do the hiss things that some reviewers complain about, but that happens more with the wrong pickups and also involves pushing the “TOP” control past about two o’clock – that gives a lot more of the picking pluck sound of an acoustic, but that can get harsh pretty quickly depending on how its EQed.

This is probably one of those “save the receipt” pedals, and with ebay and Reverb and Craigslist its never been a better time to finally buy something you’ve wanted to try, try it, and then dump it and write an angry rant after it’s all over.

This little pedal is well thought out and works nicely. It offers two major improvements to my situation. I am a hobbyist/semi-pro. more semi than pro these days at 70 years old. My hands are starting to go.

and that brings me to the first good thing about the AC-3. My Martin HD28 acoustic still sounds way better of course. always will, but the AC-3 gives a reasonable approximation with my Stratocaster GC-1 using the NECK POSITION SINGLE COIL pickup through a Bose PA.

but with way lighter strings and easier action. Of course the play feel is very different but I can live with it. Secondly, my rig is built around a Voicelive 3X for my vocals and most guitar effects (other than acoustic) working in conjunction with a venerable old GR-30 guitar synth, all run by bluetooth MIDI from Onsong on my music stand iPad.

Sometimes I like to blend synth and acoustic sounds. for instance putting some soft strings behind fingerpicked acoustic guitar. It having no synth driver, I cannot do that with the Martin, but it works great with the Strat , and I have the option of stomping on the GC-3 to instantly switch to any other lead sound from either of the other two units.

maybe a dreamy sax or jazz guitar. The GK-3 is definately the missing link that sets me free,.

First off amateurs must be buying this because if hooked up correctly there is no hiss or buzz. I use it when I don’t want to drag multiple guitars to recording sessions. I’m a professional session musician and this pedal makes my life easy.

I take 2 strats and this pedal does the trick if connected properly and fine tuned. Boss certainly is well known for its equipment and wouldn’t put out anything cheap. It’s certainly not a complete acoustic substitute but for what it is it’s perfect.

I upgraded to the G5n from a G3xn for the additional pedal button, the process flow screen and the USB recording capability. Very capable multi effects pedal. If you are a beginner, understand that the learning curve for this product is HUGE.

There are however plenty of YouTube videos out there from both Zoom and other people to help you get started. Out of the 124 presets, I would say I only found 20 or so useable out of the box. Probably another 30 or so made good good starting points to dial in to my liking.

The real fun starts when you make your own effects chain from scratch. Another benefit this pedal has over the lower models that I did not immediately realized is the Master Level control knob letting you dial down the pedal output volume and turn your amp way up to its sweet spot without having to play at gig volume levels.

If you own a laptop or desktop PC, try out Zooms software for editing your effects chain. I find it very useful when putting together and fine tuning new presets.

I purchased this pedal as I was in immediate need of a new multi fx pedal, something that sounded good through a marshall and cab, a small practice amplifier and straight out through the USB port or mono output for direct recording I was immediate relieved when I heard the cab sims, it was just what I wanted.

The clean amps could be bright and glassy or warm and round with the right saturation The driven and high gain amps had a number of varieties to choose from, classic “blue oyster cult” 70s drive? Go ahead Rich leads like that of Van Halen, powerful rectifier amps that bring thar classic metallica chug The modulations, reverbs, filters, delays are all fantastic and im still trying new things, blown away by the results, a looper? A drum track component? Excellent for writing or practicing You can set patches as whole individuals, jumping from a natural clean, to an overdrive for your chorus, then a layered lead sound for you solos Each patch can used in stomp mode, allowing you to turn off any individual effect in your signal chain And the signal chain though it may have its limits, is still already in the ballpark of endless possibilities A fantastic pedal, light, strong and somehow still sturdy This product was just what I needed and it may be just what you need.

Overall: Looking at the G5n as ONLY a guitar multi-effects pedal still makes it well worth the price, but that would be selling it WAY short in terms of what this self-contained digital beast can do.

For those of us who also play keyboards, synths, drum machines, and bass, think of this as an entire rack of beautiful effects processing options that open up a whole world of pro tone sculpting possibility.

Yes, these effects by themselves do sound digital (because they ARE), but if you start with a good analog sound source and finish with a mic’d up tube amp or quality tube DI, you can capture some serious pro quality sounds with beautifully complex depth and texture.

Line6 and Boss both charge significantly more for products that do absolutely NOTHING better than the G5n. So why dump any more money than absolutely necessary into a digital effects unit that you know will become a doorstop eventually anyway? The Zoom G5n delivers every last nuance of the best effects units available on the market today, and it does it all at a price you can afford to replace in a few years.

PROS * Equal or better sound quality than competing products from Line6 and Boss, all at a much lower price. * Better and more intuitive user interface than Line6 and Boss competition. * The “ZNR” noise reduction effect performs amazingly well, and can be tweaked perfectly for any application.

Especially for those of us who hate unnecessary pickup and amp noise in our recordings, this is worth the price of the entire unit alone. I’ve actually paid the same price as this unit for a Waves noise reduction plugin that I don’t like as much as the one inside the G5n.

* No wimpy 12AX7 tube output that everybody knows won’t make much difference, and which just becomes a maintenance liability over time. The old G5 had one of these, and Zoom should be applauded for ditching the gimmick.

* Takes a huge load off of your DAW in terms of effects plugins. Also, unlike your DAW, you can monitor any instrument through the G5n without any noticeable latency. * The two tone booster dials are great for when you’ve been crafting new patches through headphones, but then you want to plug the G5n into your amp and you’re frustrated because you don’t hear the same frequency balance out of your amp that you did in your headphones (coming directly out of the G5n headphone jack).

The two tone booster dials let you tweak the EQ of your frequency response (in a pleasant and natural/analog sounding way) so that your amp sounds accurate tonally to what you were hearing in the headphones.

This keeps you from having to save two differently tweaked patches of the same effects chain just so you can hear the correct frequency balance through either your headphones or your amp. CONS * USB recording interface is convenient for recording rough ideas, but not realistic as a pro DI/converter.

Luckily the stereo ¼” analog out jacks do a good job of letting you use your tube preamps for DI recording anyway, but it would be nice not to have to pass through an extra layer of D/A conversion if not absolutely necessary.

* Amp & cabinet models are excellent tools for tone shaping, but no they don’t sound like the real deal (and no digital emulation ever will if you’re listening back through quality DAC). Nonetheless, that doesn’t mean running reasonable gain settings on these amps and cabs into the clean channel of your tube amp can’t still create very impressively detailed recording tones.

* Some people have reported that too many effects in a chain causes the DSP chip in the G5n to overload, but I’ve found the only time that happens is when you’re trying to chain multiple amps and cabinet models altogether, and it’s not something you (sonically) should want to attempt anyway.

With one amp and one cabinet selected, you can still add a compressor, delay, reverb, and chorus, etc. There’s plenty of DSP here to get you into trouble (in a good way). TIP: The modeled amp “heads” ften don’t sound as good as simply running one of the distortion pedals directly into a modeled cabinet.

Requires less DSP too.

I received my Ac-3 today (delivered on time) and I am very happy with it. The AC-3 met and exceeded my expectations ! This is also the very first pedal I have used/purchased. I have it dialed in to my taste and may even want to “tweak” it more as I get accustomed to using it.

I am using it with my Yamaha SLG200S CRB “silent guitar” and my Fishman Loudbox Mini amp. I have the AC-3 on a 3ft. cord near the amp and I have no issues with excessive “hiss” or distortion thanks to some minor adjustments.

I gig weekly, and I have to play styles ranging from ambient to twangy to well distorted. Over the years I’ve used pedalboards and multi-fx units, sometimes with amps, sometimes with DIs. This box does all that, and gives me studio quality sound.

I use Helix Native to design sounds for multi-tracking, then move those sounds over to the Helix LT for use live. The ease of editing on the unit itself means I can sketch out ideas quickly, or adapt patches I’ve already designed.

Where else (but through modeling like this Helix engine) can you push mild compression into a Maxon SD-9 clone (Hedgehog D9 on Helix/HX), then split signal to parallel JC45 and Plexi amps before putting both signals back through a single 4×12 cab loaded with greenbacks? It sounds fantastic.

I have been using an HX stomp live on stage, but I vastly prefer the features and full Helix dual engine in this Helix LT to the stomp. Since I don’t do lots of sends or extra controller pedals, this unit has enough I/O at a more attractive price than the full fat Helix.

If I had the extra cash, I’d probably still have gotten this unit because it does everything I need now, with enough power/possibility for things I haven’t thought of, and gets me compliments on my recorded sound.

I love multi-effects. I’ve been a fan since the Zoom 505, and had multiple Digitech, Valenton, Soundcake, and Line 6 products over the years always looking for that pedal that would give me everything I needed.

The POD Go has been my buddy for over a year and while it is a fantastic pedal, it’s limited in processing power if you want to do more wet effects or even have the option for multiple amps. I’ve wanted a Helix since they came out but I couldn’t afford to shell out for one and so when the opportunity came about to catch this on sale around Christmas, I had to pick it up.

This thing does it all. I can run dual stereo amps, Acoustic with pads, run multiple instruments in and out and use preset patches to change effects for all the instruments in my band at once. It’s sturdy, easy to set up and use but as complicated as you want to make it as well.

I can side load impulse responses to dial in a better live sound and I can choose from a crazy amount of amps, distortions, amazing reverbs and delays, as well as modulations. It’s absolutely amazing.

The POD Go was a game changer for me and is in many ways a “baby helix” but what a difference stepping up to the real thing makes. Absolutely amazing.

While I did not purchase this particular package, I play 2 genres of music: Praise and Worship, and Tech Death Metal. This unit covers both perfectly. Since I came from a metal background, I ran a tube screamer into a high gain tube amp and had zero knowledge of other effects, drive stacking, delays, reverbs, etc.

I still don’t really. I have several of the Worship Tutorial patches, and they take care of all that for me. They come with the snapshots set up for a few different cleans, rhythms, leads, etc, and that’s plenty good enough for me.

If you want, you can way further customize your sounds with the ability to swap pedals or snapshots but I don’t need much other than what the presets came with from WT. I was very on the fence about buying a Digital processor like this, since anything not tube sounded like absolute garbage when I got into guitar playing 20 years ago.

Since I got my Helix, I’ve maybe turned my actual tube amp on once or twice. I can’t recommend the Helix enough!.

I’ve enjoyed using this pedal especially to add harmonies when I’m out and about doing weddings with my electric harp. The harp works nicely through the guitar input and it’s great to add effects to the harp.

There’s a separate reverb, then you can choose from chorus, tremolo, etc. Works well as a tuner too, even for the harp. If you’re doing simple single loops, it’s fine. There’s just one loop track, so if you want to add some rhythm through the sound board of your instrument, or with the mic, or if you want just one constant additional melody line then it works great.

I enjoy doing Teardrop by Massive Attack as I can set that repeating melody line up, and a percussion loop using my hands on the harp soundboard, and then play and sing the rest of the song over the top.

Thank you Massive Attack for having a constant line that doesn’t need switching on and off! Because that’s where this pedal falls short! Dive deeper, and you’ll get frustrated, mainly because of the limitations of the looper.

I didn’t really appreciate until I started to get looping more and more, how limiting a one-track looper is. But this is compounded by the added problem of switching this single loop on and off. Imagine this.

You’ve taken ages to build up your loop: Click once to record (Light goes red), click once to stop recording and leave the loop playing (light goes blue), click once to overdub the next layer of your loop (light goes purple), click once to stop recording and hear the new loop (light goes blue again).

Want to stop the loop without deleting it? Click twice! TWICE! (if you get it right you’ll get a blue flashing light – IF!) As it turns out it’s super easy to think you’ve clicked twice, when actually it only registered one click (either by clicking too quickly or too slowly) and that triggers overdub.

You then get the purple light of doom – adding an unwelcome layer to your loop. The only way to get rid of it is to delete the WHOLE loop and start again! To delete the WHOLE loop you hold your foot down for a few seconds until the loop stops! So you need to figure out when in the track is the best place to put your foot down in order for it to end when you want it to end! It’s hard to avoid crash-landing endings to songs because of the hold it down till it stops (and hope for the best) method.

The reality of course is that this must be a set amount of time, perhaps 2 or 3 seconds, if I measured it I’d probably figure it out. However, bear in mind that the user is playing in 3/4 or 4/4 or whatever time signature, coupled with whatever the relative tempo of the song is, so at least for me, it’s impossible to switch brain and start counting in seconds! It must be said, however, that my usage means that I have a repertoire of songs edging towards 500 for weddings.

If I was practising a specific set of 30-40 mins then it might be possible to get these clicks worked up in the same way as the vocal line or the harp/guitar part, until I know it well well enough to click at the right time.

That just does not fit with my working life, however. The problem is, looping is like chocolate. You can’t just have one bit, you have to eat the whole bar! You get the bug and pretty rapidly this bit of kit is not going to cut it.

I’m exploring replacing this with two/three units. An effects pedal for the harp, a looper, and a dedicated vocal effects pedal for harmonies and for the octave effect (which I can’t believe this little box does NOT have!) TLDR.

Good for beginners but you’ll rapidly get frustrated with it. No octave effects on the vocals Good all rounder, but with serious limitations if you want to take things a bit further. The idea of a one-box rig is compelling, but I’m not sure this is it.

Great all in one pedal! I have always been reluctant to use anything “All in one”. I resisted this ever since it was rolled out. I have used passive speakers driven by powered heads, Mini passive mixers into powered speakers and Acoustic guitar amps.

I tried them all. I am a professional singer/guitar player who has a solo acoustic act. I play A Martin M-36 and a Martin 000-18 both with K&K Pure mini passive Pickups, and I also play a Taylor 814ce.

I had been using a Soundcraft UI-16 into a 10″ QSC powered speaker for a few years and I bought this for a spare in case my Mixer ever went down. Just for kicks I decided to try it one night just to make sure it was back up and gig worthy.

After dialing in the sound with the simple EQ settings I was up and running. The sound is right on par with any mixer or amp I have ever used. The vocal harmonies were jut as good as my trusty Digitech Vocal 2 I’ve used for 20 years.

I pretty much found a use for every knob on this pedal. Great sounding reverb for both vocal and guitar, The guitar chorus sounds great and the looper works good also with the addition of a Boss FS-5U switch to as an off switch for loops.

The only button I never use is the pitch correction. Fast forward a few months and I sold all my PA mixers and use only this pedal for a PA. My live rig is now Mic/Guitar into this pedal *into a 10 inch powered speaker.

That’s it! * The only caveat is: With The K&K Pure mini passive, there is an impedance mis-match with this pedal (as well as many other powered speakers and amps) if you plug a K&K guitar directly into the guitar input.

This is NOT the fault of this pedal. It’s fine with my Taylor, but the sound will “cut-out” with hard strumming or heavy bass notes with the K&K unless. I put a boss pedal BEFORE the input of this pedal.

You can use a Tuner or pretty much any pedal and it will correct the impedance going into this pedal. I use A Boss EQ and have no issues.

This little harmonizer served me very well for a few years and I loved it. When it died I replaced it and the new unit had a very nasty habit. Without warning all the lights would light up and it would throw a chorus or some effect on your voice.

If you pressed a button to try to make it stop it would send nasty feedback through the speakers. Totally unacceptable. I sent it back and Musicians Friend was great about replacing it. The next unit did the same thing the third one did too.

The only remedy seems to be to turn it off and back on between sets. These need to be taken off the market until the issue is fixed. Save your money for now and buy it when the problem is resolved. It sounds great when it works.

As far as I can tell this is a good representation of the rotary tone cabinet; great middle focused sound that works well ahead of o/d pedals. The drive function provides a nice bit of grind to proceedings.

The switch between the speed ranges is useful but what would make this really good is having this foot-switchable, but then at this price point that would be tricky. I’ve yet to gig this pedal (for obvious reasons) but I can see it being a useful additional texture to kick in on solos on the slower settings.

Built like a tank! Brilliant rotary speaer or vibrato effects. Has a satisfying ‘swoosh’ to it. There is a slight click when you hit the footswitch, but not as bad as some more expensive pedals I have.

For the money, these can’t be beat! I’ve not owned this for long, so can’t say how it will last in constant use, but they feel as solid as rock!.

I listened to every demo on the internet of rotary speaker pedals and I thought the Lester G sounded the best to me. Now that I am using it, I am happy with the choice. It sounds good in mono, but running it in stereo, it sounds so authentic.

I have had Leslie 147’s, 122, and MotionSound passive and powered rotary speakers systems over the years. This pedal does a great job creating that unique sound. With the overdrive control, you can dial in some great tones, like Stephen Stills intro on Woodstock, or It Don’t Come Easy by Ringo Starr, and Drift Away by Dobie Grey.

Don’t forget Badge by Cream.

I bought this initially to compliment the EHX C9 organ pedal. Yet, as a stand alone pedal for my guitar it does a number of things and could replace other pedals. With an expression pedal the Lester allows a user to produce tremelo, chorus as well as the the Leslie tones all with variable tempo, on the fly, as one plays.

This pedal also has a built in compression which contributes to my already substantial sustain. As an added bonus the drive function supplies another overdrive voice that I think I prefer over all the other gain stages available on my pedal board and from my amp.

Well done Electro-Harmonix. I only wish I had purchased this pedal years ago.

Have needed an effective rotary speaker pedal for a long time. Got tired of issues with an effects processor that is over 25 years old! The E-H LesterG pedal can do it all as I expect it to do. Controls are effective and easy to use.

Used the pedal at a gig with great results!.

Probably the best Leslie sim. Very well built although the power supply looks pretty weedy. Sounds fantastic and definitely enhances any organ clone one may put through it. Sounds great with guitars also.

I play covers and blues, the same stuff I have been playing since my first gig in 1964. I have played a ton of simulators, some of the really good ones and some others, a Motionsound, and keys with pretty fair built-ins (like Nord) and for a while had a 710 refrigerator Leslie.

This one, no matter your romanticized feelings for your old 122s and 147s, this is the gigging musician’s dream. Great tone, great distortion, tones of adjustability, and it is built to take the rigors of travel and hard play.

I use a first generation Hammond combo organ, which has been brought back from the storeroom with this machine. Since I have used so many stomp boxes and the 710 with the TREK preamp, i love a stomp switch rather than the “real” multi pin cords (and I hate the likelihood of all those kinks and little broken wires) which also allows me to play bass or piano with my left hand, too.

This is the Leslie of your dreams. Sure the wood boxes and mellow and pretty. Buy one and leave it at home. Take this one out, crank it and lay waste to the joint. You will have the loudest, purest rock sound in your band.

I use mine with a Hammond C3 in church with a praise band. I was using a Leslie 122 but it did not have power to compete with a lead guitar, 2 rhythm guitars, and drums. Had to get another kit put in the organ to handle the 11 pin cable connections but well worth it.

It is the closest thing to an old Leslie 950 I have used. Still tweaking, have not tried the tube portion of the amp yet, will update when I do. There is so much bottom end to this amp, I can only turn the bass setting up 1/4 turn, (about 3).

The high end is just piercing, there is no other word to describe it. The buying experience was second to none, I was updated regularly on status and shipment, and got an excellent deal. Only excellent things to say about Musicians Friend.

For its size and portability, it’s a dynamo! I read the previous review and I have to say this. If you are a Leslie fanatic like me, carrying around an extra amp is no problem. Compared to a 147 or 122 it is so light, that I pick it up and put it in the van all by myself! You couldn’t pull that off with a 122~~~ Geez, what more can you ask for.

It has a horn and a lower rotor, unlike the Pro 3T imitation unit. or any of the other genuine imitations. It has a tube so you can dial in distortion to your liking. And you can even change the ramp up and ramp down speeds, unlike the previous predecessors.

You can adjust your treble, bass, and upper and lower output as well. Like the other review stated, you can use an 11 pin cable, 1/4 inch input, as well as the special input on some of the XK series Hammond slab organs.

Also, for you Leslie people. there is no maintenance, no oiling motors, rotors, etc. ****A word of caution. the upper belts SUCK and break sometimes. My suggestion, google SPEAKEASY VINTAGE and have them send you one of their propoline belts.

They last forever! The motors are very strong in this Leslie, but one precaution I have to all. DO NOT FLIP THIS LESLIE ON ITS SIDE OR UPSIDE DOWN. Most of you Leslie people already know this about a Leslie, but this one is WORSE than the 122’s.

Not only will you dislocate the horn, but you will also dislocate the motors and they can slam around and do damage!!! (Rip up your lower rotor, smash the upper driver or amp etc. ) Instead of using the old butterfly bolts to hold the motor in, they have a donut gasket that the metal fixture around the motor POPS ONTO.

I have to say that is one disappointment I found. They could have thought that one thru a bit better! the old butterfly bolts worked just fine. These break loose, and the motor swings by its wiring harness and can do a lot of damage.

I had a company ship mine and the morons shipped it in a sub woofer speaker box. They packed it good, but it got tossed around by the delivery company like a basket ball, and came damaged, almost beyond repair.

Please take note of this. If you ship, insist that the use a pallet and band it in an upright position onto the pallet and mark it THIS SIDE UP or you will be sorry. This will add piece of cost to shipping, but also give you peace of mind.

Make sure you insure as well! I did thank God!!! Shipping companies have no idea how fragile these things are! As far as the sound. it is very wonderful. And at the price Music123 is offering it for, IT’S A BARGAIN.

Once again, if you are not a Leslie fanatic, or just a keyboardist, and are satisfied with the schlock irritating vibrato wanna be Lez sound that most synths and modules emulate, by all means this is not for you! But if you want the sound of the 122 and need convenience.

it has wheels, it’s light, easy to mic, and packs a lot of power on its own. (I suggest miking it though to save on blowing a driver. ) One more thought. if you buy this, I cannot remember the company’s name, but if you Google [LESLIE3300 COVER] you will find them on the net.

I recommend you get the polypropylene cover for it. They are about 300. 00 but worth it! By the way, I went to see Tower of Power, (I played with a couple of these cats over the years) and their keyboard player uses the Leslie 3300 and it sounded WONDERFUL!!!.