Hammond organ a100 manual

Inside the Vintage Hammond B-3, on one side of the tube preamp, there was a "Screwdriver Pot" with the engraved legend "Tone".

This control was adjusted by the Technician installing the organ in order to tame the treble response in the instance of the organ's installation in a Church or Mortuary, where a more muted organ was desired. The control was a cocktail of upper Mid and High frequencies the proportions of which were, until recently, held secret.

The "Tone" control was basically a "hi cut" control and only went "down". You could not direct the control to go "up" for "boost". The B-3mk2 has 5 banks of 9 presets each, controlled by the Traditional "Reverse color" Preset keys at the lower end of each Manual.

The entire B-3mk2 setup may be saved to a common CF Flash card for backup or restoration. You can play these external zones with or without the B-3mk2 voices sounding..

The Xk-1c features real drawbars in the size, shape and configuration of Vintage Hammonds. The Drawbars also serve the Combo and Pipe Organ divisions, but with a slightly different function. On the Xk-1c, Perc is executed in the Digital realm, allowing a wide range of controls the organists back in the day did not possess. In order that every key and pedal of the Laurens Hammond's Organ could access every Tonewheel as predicated by the Drawbar settings, an electro-mechanical apparatus lurked behind the keyboards, with 9 contacts corresponding to each drawbar for that keyboard and a series of contacts attached to each key.

As a key was depressed, the contacts sequentially touched, and the circuits were completed to produce the Organ tone that was registered by the Drawbars. The very nature of Electric circuitry dictated a click could be heard at the top of each note played when the current-carrying key contacts touched. Laurens Hammond considered that click to be a nuisance, and worked to no avail in order to rid his organ of that imperfection. The jazz players who embraced the Hammond Organ, however, found the click to be a percussive highlight, and wanted nothing to do with its eradication.

To make matters worse, as the Vintage Hammonds aged, the click became more pronounced, and by the Rock and Roll era, the Key Click assumed a role of importance that Laurens Hammond could never imagine.

The timbre of the click may also be adjusted. Hammond would have greatly approved of the Xk-1c, as you can turn the click all the way off if you desire, creating a Vintage Hammond Organ that could not exist in the physical world. The inclusion of this obscure feature demonstrates the commitment to authenticity Hammond has brought to the Xk-1c Series. The advent of transistor electronics brought forth smaller, more affordable portable Organs. The Thomas Organ Company in the U.

Thomas sold their Combo organs under the Vox name and their premier offering was the "Continental". Farfisa's organs became Rock icons, and the marque reached its height with its "Professional" model. The sound of the transistor Combo Organ never went out of style, and has even flourished in the "Indy" scene of the 21st Century.

The sounds of both of classic instruments are faithfully reproduced in the Xk-1c, with the ability to register them in the exact way you were able to on the originals. Both models employed a variation of Hammond's Drawbars, and an accompanying legend on the control panel marks the functions for each drawbar, for each model.

The Pipe Organ division uses the Drawbars as Drawknobs to select the stops you choose. Now you can take this majestic sound wherever you desire, whether it is to accompany Worship, Perform Classical Organ Literature, or Practice with Headphones in your Dormitory Room. Progressive Rock groups have relied on the sounds of Classical Pipe Organs, and have had to compromise with the few inflexible samples contained in Synthesizers and Samplers, but now the sky is the limit with a Classical Pipe Organ that can be registered in the traditional manner.

As is customary with Hammond, each rank of pipes may be voiced independently to the user's specification, and stored for instant recall. The main difference between Church Pipe Organs and Theatre Organs was the deep Tremulant that took the edge off the Theatre Organ's pipes and made them emotionally "sob".

Making use of an acoustic phenomenon called the "Doppler Effect", Mr. Leslie constructed a speaker cabinet that used a simple system of rotating horns and baffles to give the Hammond tone "motion" and "depth". This created a different instrument altogether, one that could play "Popular" music. Hammond intended his organ for the Church and Classical Music, looking at "Popular" Music with disdain-he wanted nothing to do with Mr.

Leslie's invention when Mr. Leslie demonstrated it. The public however, took the combination of Hammond and Leslie to heart, and so it remains to this very day. It is difficult to think of one without the other, although Mr. Hammond never allowed Hammond Dealers to sell Leslie Speakers.

After Mr. All software has an evaluation or trial mode. This company is run and operated by volunteers, who take no salary or drawings of any kind. Donations and small charges for some sample sets, allow us to continue to maintain this software, provide equipment and helps cover the costs of new sample set production. Sample sets can be quite expensive to produce in terms of time, money and patience, however we keep these costs to a minimum so that as much as possible from proceeds is available to be donated to the recipient organ fund.

Naturally, we also ensure a large proportion of the proceeds from sample sets, goes back to support that organ. Our website is bit encrypted with a secure certificate for your safety, and all transactions are carried out securely via PayPal.

This project is largely driven by user requests and feedback so your views are really important to us. Just the first year of two motor stacks? Had to use fasteners on original holes,screws won't go in any other way. Want to fix tone F6 without the A falling apart? Tags: None. Just trying to help a bit , correct me if I'm wrong but if 1 manual wire is broken the other manual should work.

Check for the tone and signal at the terminal strip. Put it on a scope look at the signal if you can and see if you are getting any voltages when depress the key or note. Comment Post Cancel. Sweet Pete commented. Bass pedal harness removed and some 'cobbling' white wires to trace next. If not resolved maybe the 'y' connect at manual wires on 6 knocked off moving the organ?

Terminal strip to preset panel produced tone! The harness goes first to the upper manual, and then on to the lower so depending on where the break in a wire is located either the lower or both manuals would be dead. At least the tonewheel is spinning, I would be looking for a bad wire as well.

Will be very careful raising manuals! Spare Leslie cable now soldered and retained properly. Checked this '64 Leslie ,and the slow motor is held over the tire with Phillips! Have now seen more than two 'stacks' with them in use.

The doghouse cover is on backwards. Will change that while I check the 'throttle body" and put it back on correct. Willing to bet the trim is out more than two full turns with that cooked P15LL? It is in a barroom after all Indeed, the magic screw for the whirling dervishes, the A has the reverb tank and signal to drive the 2nd channel on the It has 2 6x9 on each side of the leslie.

Its sounds good with the right mix of rotary and reverb but; the reverb gets overwhelmed by the rotary pretty easy imho. No luck having a look under the manuals today. Wires all on. Lower manual has bass pedal mods. Wasn't an issue there. No matter how careful a 'foam' manual is opened up or 'played with' the possibility it is broken inside is real.

Only way to get the tone F Maybe foam broke the wire? Tone 50 roared back to life at the terminal strip with a little solder. Missing back lower manual through bolt on treble end.