[Silverface]

A boot circling around from 1970 recorded in Ames, Iowa has a couple of great examples of Clarence's use of the Vibratone (aka Leslie 16).

Listening to these with headphones, analyzing the mix and having had one I now realize Clarence did have the stock crossover unit - sending the mids to the Leslie and the highs/lows to the Super Reverb. There is no way to get the tone he gets plugged straight in to a Vibratone (which many players have done, with the crossover and footswitch...a dual one to route the signal; the other to shift the speed to hi or low...having been lost or not understood (it took me a month to get my old one working right, as I got it with all the parts but wired incorrectly. Dave Bose "fixed" it for me over the phone).

"Leslie" tunes from the Ames Iowa boot:

I Trust

Welcome Back Home - drone instrumental near middle; try it with headphones - Dinky mic'd the Vibratone in stereo - only example I know of.

Truck Stop Girl - Dinky has it down in the mix, but it's there.

You Ain't Goin' Nowhere - low in the mix, but it's also on almost every other boot version of the song I know of. It's recognized by a glassy sound with a subtle frequency response shift, most noticeable when he plays the first few intro notes.

Trivial side notes about the Ames show-

It's one of the few shows where Battin does some of the announcing.

There's a "double-clutch by Clarence at the start of Truck Stop Girl when his mic feeds bad and he has to restart.

Soldier's Joy/BMR is both weirdly abbreviated and horribly sloppy. No clue what the deal was, as everyone seems to follow Clarence's quick (and wrong) chord changes - sounds like "please can we get this over with?" Also clearly played on the Ovations - Ovations actually sound amazing when mic'd correctly - here they weren't (Sidebar - Tony Rice used an Ovation on one album and challenged listeners in an interview to identify it - said it sounded as good as the large-hole 'bone!).