I have no idea what you are saying although I guess it is a insider joke.
The Hammond B3 is but a tool.
The Leslie is but a tool.
Some folks imagine that Hammond (typically a masculine name) is a gregarious but not overbearing male.
And imagine that Leslie (usually but not always, a feminine name) is a somewhat bewitching female.
This combination usually can make a great couple.
On the dance floor, in a concert hall or in a venue on the beach.
And at least one of their parents did not want them together.
Hammond's father did not want Hammond to have anything to do with Leslie.:
(A little long but worth it, I think)
An excerpt taken from:
History of the Hammond B-3 Organ
by Glen E. Nelson
Why The Hammond?
Even today, the influence of the Hammond organ is felt everywhere. Listen to any song on any given radio station, and it is a strong bet that you will hear someone banging away at a B-3. By the way, the B-3 is only one of the many different styles of organs that the Hammond company produced, among which were also the Chord organ and the Spinet organ. This one just happened to be the most "portable", if you can call it that, and it really had the best sound, today what we would call the "classic" Hammond sound. The Hammond is used in all types of music, from Gospel, to Blues, to Jazz, to Funk, to Rock. My first real exposure to the organ was early in my musical career when I was still listening to Emerson, Lake & Palmer, and Yes almost exclusively, studying and memorizing every Keith Emerson and Rick Wakeman lick that I could transcribe. (Especially Keith Emerson, who used to take his B-3 and throw it around the stage, ride it like a horse, set it on fire, stab it, or whatever else.) Back then I knew I loved the sound of the organ, but I never really realized it’s full capability until I reached college and was introduced to my first Jimmy Smith record, who is world renowned as the master of the jazz organ, and really the first musician to treat the organ as an honest-to-god instrument, and not just a novelty to be thrown in at sporadic times, the way Count Basie did back in the early fifties. My friend popped in the album
Organ Grinder Swing, and said, "Check this out - this guy solos with his right hand, comps chords with his left, plays bass lines with his left foot, and controls the volume with the right." I must have said something like "Yeah, right". Not only was this man doing everything that my friend had described, but he was also soulfully moaning and wailing to the music that he was creating, and I knew immediately that this was something serious that I had to know more about. Four years later, and I consider myself to be a full time jazz organ player. Jimmy Smith, though, was not the only one to make a name for himself playing the Hammond. Among the many in jazz, funk, and rock are Richard "Groove" Holmes, Jack McDuff, Jimmy McGriff, Joey and John DeFrancesco, Shirley Scott, Dr. Lonnie Smith, Larry Young, Don Patterson, Paul Shaffer, Don Pullen, Larry Goldings, 'Big' John Patton, Booker T. Jones, Billy Preston, Merl Saunders, Ray Manzerek, Jon Lord, Fats Waller, and so many others. I have had the opportunity to take lessons with both Dr. Lonnie Smith and Larry Goldings, and let me assure you that these men take the instrument very seriously, and that they are monstrous musicians, capable of doing amazing things. I have also had the opportunity to meet Jimmy Smith at a club in Boston, and let me assure you that the man, although intense, is completely insane.
The Leslie
There is one more thing that must be described if we are to fully appreciate the character of the Hammond, and that the is the Leslie tone cabinet. The organ needed an external speaker in order to be heard, and it also needed one specially designed that had rotating speakers, so that the vibrato effects in the organ could come out. Besides, the organ had a special multi-pin output that could only be connected to a tone cabinet, a conventional amplifier would never have worked. The Hammond company actually designed several tone cabinets of their own, but they never caught on as well as the similar model produced by the Leslie corporation, which simply sounded better anyway. In the early days, there was a sort of rivalry between the two companies going on, but not long after the Leslie pretty much became accepted as the standard. Even Laurens Hammond, who publicly pooh-poohed them had his own home organ coupled with a Leslie. Like the organ itself there were a lot of varieties of these speakers, but one of the most commonly used models was called the Leslie 122, which stood around six feet high, and had two rotating treble horns at the top of the cabinet, a bass woofer inside, and another pair of rotating horns at the bottom. The rotation of the horns were continuous, and they only had two speeds, fast and slow. When moving slow, which they most often do, is when the clean, pure organ sound comes through. But when the fast switch is activated on the console of the organ, the speakers pick up speed, eventually going as fast as they can, and that is the classic huge Hammond vibrato sound. A Leslie is really something to hear close up. It is a very loud and a very powerful sounding speaker. Someone at the controls of an organ has a lot of power at their disposal, not to mention the possibility of overdrive, which is a common sound used by organ players. This happens when you maximize the volume on the expression pedal and the Leslie distorts, which is very effective, but should probably only be used sparingly. Most organ players preferred the sound of stereo Leslies, but one would work just fine. Some other models were made that were smaller and more portable, and it often depended upon the tastes and needs of the players themselves. Some players preferred the sound of the Leslie if only the bottom horns rotated instead of both, or the other way around. Some players combined other speakers, like bass cabinets, in conjunction with their Leslie. The way you set up your Leslie was almost as important as the drawbar settings themselves. But enough background on the instrument; its time to move on and explore the legacy that the Hammond organ has left the future generation of keyboard players and the future of music technology in general.
The Hammond's Influence
As I mentioned before, the Hammond B-3 was immensely popular during the 50's and 60's, and even into the seventies when the first portable synthesizers began to appear. Keyboard players like Keith Emerson and Rick Wakeman, even though they were surrounded by an army of Moogs, Mellotrons, and electric pianos, would still lug these things around. For one reason, because even to this day, though the Hammond could imitate the sound of almost any instrument, nothing could imitate the sound of a Hammond. And it can be safely said that players were infatuated with the instrument because it really was the world's first portable synthesizer. Well, was it? It utilized oscillating vacuum tubes, manipulated sine waves through the use of harmonics, could actually save preset sounds, (not to mention sounds that actually sounded like something else besides an organ), had modulation control, (the two Leslie speeds and the different tremolo, chorus, and vibrato settings), had attack and decay parameters, volume pedal control, and even had echo and sustain available on later models. Doesn't that sound a lot like the early synths we know? When the early developers of synthesizers, Robert Moog on the east coast and Don Buchla on the west, were tinkering with oscillators, it is a good bet that they knew of the Hammond and what it was capable of. Moog even used a modified organ manual as his keyboard controller. Especially later on, when new synthesizer companies began mass-producing their instruments, the demands of keyboard players that were already out there on the scene playing warranted that they would have to appease the Hammond enthusiasts, who had become comfortable with the organ's by-then 'standard' features. Entire dictionaries were put out on the Hammond organ alone, jammed with the different drawbar settings that all sounded different from one another. Numerous publications were being put out on the instrument. Teachers actually began instructing students on the Hammond as its own new instrument. Needless to say, the movement was large, and it is true that much of what was standard on the Hammond organs back then became standard on the synthesizers that we know of and use regularly today.
