HIGHLIGHTS

• Traditional drawbar organ tone reproduced in detail by the new sound engine "MTW2".
• Intuitive and easy-to-understand user interface for easy access to all functions.
• A color display enables highly visible and intuitive operation, in both performance and programming situations.
• Pitch bend and programmable modulation wheels.
• User-assignable knobs and switches which can be used to control internal functions and external devices.
• A Master Equalizer providing tonal control of any performance environment.
• Our exclusive 9-level virtual multi-contact system expresses the distinctive feel of a vintage Hammond's multi-contact keyboards. Additionally, multi-contact feel on the pedals will be present if you connect any of our (optional) XPK-130G/XPK-200G/XPK-200GL MIDI pedalboards.
• The onboard Digital Leslie adopts a new-generation algorithm modeling the airflow of Leslie rotors, faithfully reproducing their unique tone and three-dimensional effect.
• A new tube modeling system reproducing "vacuum tube warmth"-highly desired by all Hammond players.
• An exclusive system emulating the "matching transformer" of vintage Hammond organs adds fullness to the sound.
• In addition to hyper-accurate drawbar tones, the XK-4 also features Italian, British, and Japanese transistor combo organ models, with the ability to register these instruments in the authentic manner.
• The XK-4 is equipped with multiple ranks of Classical and Theatre Pipe Organ tones, which can be registered in the traditional manner. These sounds may be custom tailored to your liking.

HAMMOND ESSENTIALS

Hammond's proprietary "Chorus/Vibrato" and "Touch-Response Percussion" are included, with the ability to choose between three generations of the virtual Chorus/Vibrato scanner and the characteristics of the Percussion. You may also apply authentic vibrato for the transistor organ models and authentic tremulants for the pipe organs models.

DIGITAL LESLIE™

• The XK-4 is equipped with eight discrete Leslie speaker models such as 122, 145, and 147 with variations of each.
• You can program the volume, "fast and slow" rotation speeds, "ramp" up and down speeds, and microphone position for each horn and drum element.

OVERDRIVE and EFFECTS

• Four distinct overdrive profiles: Tube, Solid, Clip, EP amp
• Multi effects 1: Tremolo, Wah, Ring Modulator, Compressor
• Multi effects 2: Phaser, Flanger, Chorus, Delay, Auto Pan

POWER CONNECTION

A standard AC cable (IEC C14) is used for power connection. It will automatically adapt to the power supply voltage of each country.

Jean Blaute

Jean Blaute was born in 1952 in Zottegem, East Flanders, where his parents ran a music store, and sold phonorecords and musical instruments. Heaven for the son, who took piano lessons from the age of six with an excellent classical pianist, who taught him the correct and elegant fingering as well as the love for Bach, Mozart and Chopin.
In the record-store Jean could indulge in all sorts of music. From Chuck Berry to Jimmy Smith to The Beatles to Miles Davis. Jean had no interest in genres, he chose sound and quality at a very young age, which he passionately found with The Beatles. Soon he was fascinated by producer George Martin.

In addition to the classical piano, Jean played the organ on a 14-year-old seond-hand in the local band Marino Falco & The Eagles. Playing the organ became more and more second nature year after year. He could only dream of a real Hammond at the time.

Every year he went to the Frankfurter Musikmesse with his father, a Walloon accordionist and tuner. There he spent hours at the Hammond stand, where he learned the charm of drawbars and rotating speakers.

After high school, he went to the Brussels Conservatory to study music theory, harmony and music history, without obtaining a single degree because the young musician was already noticed in studio land. He became a studio musician, which was a profession back then. He wasn't interested in years of reading and playing music-scores, knowing very well he wouldn't do this later in his life. The other side of the window interested him more. The producer's chair, the mixing desk, the audio equipment. Gradually he started writing arrangements and a first real production soon followed. Jean was the youngest producer in the country at the time.

As a producer he quickly made a difference in what was then a somewhat old-fashioned Flanders. With Wim De Craene, Raymond van het Groenewoud, Urbanus, Johan Verminnen and Ann Christy, Jean's drive really shook the tree. The productions followed each other in steady succession, sometimes with a break in between. Henny Vrienten, De Kreuners, Clouseau, Hugo Matthysen, De Nieuwe Snaar, K's Choice, De Mens, De Jazzpolitie, Boudewijn De Groot, Jasper Steverlinck, Guga Baul, Emmy d'Arc and many others...

Jean was often asked as an organ-man in Belgian studios, especially in the 80's and 90's, for both Belgian and international artists and bands. Especially in the Brussels ICP Studios.

The Hammond B-3 was always his thing, even though he didn't have one at home...

"But now, with the XK-4, the 72-year-old youngster is planning an organ come back together with guitarist and best friend Eric Melaerts! Practice well first, Jean!"