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Hammond organ

March 20, 2023

The Hammond organ is an electric organ invented by Laurens Hammond and John M. Hanert[6] and first manufactured in 1935.[7] Multiple models have been produced, most of which use sliding drawbars to vary sounds. Until 1975, Hammond organs generated sound by creating an electric current from rotating a metal tonewheel near an electromagnetic pickup, and then strengthening the signal with an amplifier to drive a speaker cabinet. The organ is commonly used with the Leslie speaker.

Hammond organ
A Hammond C-3 organ
ManufacturerThe Hammond Organ Company (1935–1985)
Hammond Organ Australia (1986–1989)[1]
Hammond-Suzuki (1989–present)[2][3]
Dates1935–1975 (tonewheel models)
1967–1985 (transistor models)
1986–present (digital models)
Price$1,193 (Model A, 1935)[4]
$2,745 (Model B-3, 1955)[5]
Technical specifications
PolyphonyFull
OscillatorTonewheel
Synthesis typeAdditive
EffectsVibrato, chorus, reverb, harmonic percussion
Input/output
Keyboard2 × 61-note manuals, 25-note pedals (consoles)
2 × 44-note manuals, 13-note pedals (spinets)
External controlAmphenol connector to Hammond Tone Cabinet or Leslie speaker

Around two million Hammond organs have been manufactured. The organ was originally marketed by the Hammond Organ Company to churches as a lower-cost alternative to the wind-driven pipe organ, or instead of a piano. It quickly became popular with professional jazz musicians in organ trios—small groups centered on the Hammond organ. Jazz club owners found that organ trios were cheaper than hiring a big band. Jimmy Smith's use of the Hammond B-3, with its additional harmonic percussion feature, inspired a generation of organ players, and its use became more widespread in the 1960s and 1970s in rhythm and blues, rock, reggae, and progressive rock.

In the 1970s, the Hammond Organ Company abandoned tonewheels and switched to integrated circuits. These organs were less popular, and the company went out of business in 1985. The Hammond name was purchased by the Suzuki Musical Instrument Corporation, which proceeded to manufacture digital simulations of the most popular tonewheel organs. This culminated in the production of the "New B-3" in 2002, a recreation of the original B-3 organ using digital technology. Hammond-Suzuki continues to manufacture a variety of organs for both professional players and churches. Companies such as Korg, Roland, and Clavia have achieved success in providing more lightweight and portable emulations of the original tonewheel organs. The sound of a tonewheel Hammond can be emulated using modern software audio plug-ins.

Features

A number of features of the Hammond organ are not usually found on other keyboards like the piano or synthesizer. Some are similar to a pipe organ, but others are unique to the instrument.[8]

Keyboards and pedalboard

 
The two manuals of the Hammond B-2
 
C note
A single note (C) played on a Hammond organ
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Unlike an American Guild of Organists pedalboard, a console Hammond normally has 25 pedals.[9]

Most Hammond organs have two 61-note (five-octave) keyboards called manuals. As with pipe organ keyboards, the two manuals are positioned on two levels close to each other. Each is laid out in a similar manner to a piano keyboard, except that pressing a key on a Hammond results in the sound continuously playing until it is released, whereas with a piano, the note's volume decays. No difference in volume occurs regardless of how heavily or lightly the key is pressed (unlike with a piano), so overall volume is controlled by a pedal (also known as a "swell" or "expression" pedal).[10] The keys on each manual have a lightweight action, which allows players to perform rapid passages more easily than on a piano. In contrast to piano and pipe organ keys, Hammond keys have a flat-front profile, commonly referred to as "waterfall" style. Early Hammond console models had sharp edges, but starting with the B-2, these were rounded, as they were cheaper to manufacture.[11] The M series of spinets also had waterfall keys (which has subsequently made them ideal for spares on B-3s and C-3s[12]), but later spinet models had "diving board" style keys which resembled those found on a church organ.[13] Modern Hammond-Suzuki models use waterfall keys.[14]

Hammond console organs come with a wooden pedalboard played with the feet, for bass notes. Most console Hammond pedalboards have 25 notes, with the bottom note a low C and the top note a middle C two octaves higher. Hammond used a 25-note pedalboard because he found that on traditional 32-note pedalboards used in church pipe organs, the top seven notes were seldom used. The Hammond Concert models E, RT, RT-2, RT-3 and D-100 had 32-note American Guild of Organists (AGO) pedalboards going up to the G above middle C as the top note.[9] The RT-2, RT-3 and D-100 also contained a separate solo pedal system that had its own volume control and various other features.[15] Spinet models have 12- or 13-note miniature pedalboards.[9]

Hammond organ manuals and pedalboards were originally manufactured with solid palladium alloy wire to ensure a high-quality electrical connection when pressing a key.[16] This design was discontinued with the introduction of the transistor organ. This means tonewheel organs have between 3.2 and 8.4 grams of palladium, depending on make and model.[17]

Drawbars

 
The sound on a Hammond is varied using drawbars, similar to faders on an audio mixing board[18]

The sound on a tonewheel Hammond organ is varied through the manipulation of drawbars. A drawbar is a metal slider that controls the volume of a particular sound component, in a similar way to a fader on an audio mixing board. As a drawbar is incrementally pulled out, it increases the volume of its sound. When pushed all the way in, the volume is decreased to zero.[18]

The labeling of the drawbar derives from the stop system in pipe organs, in which the physical length of the pipe corresponds to the pitch produced. Most Hammonds contain nine drawbars per manual. The drawbar marked "8′" generates the fundamental of the note being played, the drawbar marked "16′" is an octave below, and the drawbars marked "4′", "2′" and "1′" are one, two and three octaves above, respectively. The other drawbars generate various other harmonics and subharmonics of the note.[19] While each individual drawbar generates a relatively pure sound similar to a flute or electronic oscillator, more complex sounds can be created by mixing the drawbars in varying amounts.[20] Because of this, the Hammond organ can be considered a type of additive synthesis.[21]

Hammond manufactured from 1969 onwards have the footage of each drawbar engraved on its end.[21] Some drawbar settings have become well-known and associated with certain musicians. A very popular setting is 888000000 (i.e., with the drawbars labeled "16′", "5+1⁄3′" and "8′" fully pulled out), and has been identified as the "classic" Jimmy Smith sound.[22]

Presets

 
Preset keys on a Hammond organ are reverse-colored and sit to the left of the manuals

In addition to drawbars, many Hammond tonewheel organ models also include presets, which make predefined drawbar combinations available at the press of a button. Console organs have one octave of reverse colored keys (naturals are black, sharps and flats are white) to the left of each manual, with each key activating a preset; the far left key (C), also known as the cancel key, de-activates all presets, and results in no sound coming from that manual. The two right-most preset keys (B and B♭) activate the corresponding set of drawbars for that manual, while the other preset keys produce preselected drawbar settings that are internally wired into the preset panel.[23]

Vibrato and chorus

Hammond organs have a built-in vibrato effect that provides a small variation in pitch while a note is being played, and a chorus effect where a note's sound is combined with another sound at a slightly different and varying pitch. The best known vibrato and chorus system consists of six settings, V1, V2, V3, C1, C2 and C3 (i.e., three each of vibrato and chorus), which can be selected via a rotary switch. Vibrato / chorus can be selected for each manual independently.[24]

Harmonic percussion

The B-3 and C-3 models introduced the concept of "Harmonic Percussion", which was designed to emulate the percussive sounds of the harp, xylophone, and marimba.[25] When selected, this feature plays a decaying second- or third-harmonic overtone when a key is pressed. The selected percussion harmonic fades out, leaving the sustained tones the player selected with the drawbars. The volume of this percussive effect is selectable as either normal or soft.[26] Harmonic Percussion retriggers only after all notes have been released, so legato passages sound the effect only on the very first note or chord, making Harmonic Percussion uniquely a "single-trigger", but still a polyphonic effect.[27]

Start and run switches

 
Console Hammond organs such as the B-3 require two switches; "Start" to drive the starter motor and "Run" to drive the main tonewheel generator.

Before a Hammond organ can produce sound, the motor that drives the tonewheels must come up to speed. On most models, starting a Hammond organ involves two switches. The "Start" switch turns a dedicated starter motor, which must run for about 12 seconds. Then, the "Run" switch is turned on for about four seconds. The "Start" switch is then released, whereupon the organ is ready to generate sound.[28][29] The H-100 and E-series consoles and L-100 and T-100 spinet organs, however, had a self-starting motor that required only a single "On" switch.[30] A pitch bend effect can be created on the Hammond organ by turning the "Run" switch off and on again. This briefly cuts power to the generators, causing them to run at a slower pace and generate a lower pitch for a short time. Hammond's New B3 contains similar switches to emulate this effect, though it is a digital instrument.[31][32]

History

The Hammond organ's technology derives from the Telharmonium, an instrument created in 1897 by Thaddeus Cahill.[33] The telharmonium used revolving electric alternators which generated tones that could be transmitted over wires. The instrument was bulky enough to require several railway cars for its transportation, because the alternators had to be large enough to generate high voltage for a loud enough signal. The Hammond organ solved this problem by using an amplifier.[34]

Laurens Hammond graduated from Cornell University with a mechanical engineering degree in 1916. By the start of the 1920s, he had designed a spring-driven clock, which provided enough sales for him to start his own business, the Hammond Clock Company, in 1928. As well as clocks, his early inventions included three-dimensional glasses and an automatic bridge table shuffler.[35] However, as the Great Depression continued into the 1930s, sales of the bridge table declined and he decided to look elsewhere for a commercially successful product.[33] Hammond was inspired to create the tonewheel or "phonic wheel" by listening to the moving gears of his electric clocks and the tones produced by them.[36] He gathered pieces from a second-hand piano he had purchased for $15 and combined it with a tonewheel generator in a similar form to the telharmonium, albeit much shorter and more compact. Since Hammond was not a musician, he asked the company's assistant treasurer, W. L. Lahey, to help him achieve the desired organ sound.[37] To cut costs, Hammond made a pedalboard with only 25 notes, instead of the standard 32 on church organs, and it quickly became a de facto standard.[36]

On April 24, 1934, Hammond filed a patent for an "electrical musical instrument",[38] which was personally delivered to the patent office by Hanert, explaining that they could start production immediately and it would be good for local employment in Chicago.[39] The invention was unveiled to the public in April 1935, and the first model, the Model A, was made available in June of that year.[4] Over 1,750 churches purchased a Hammond organ in the first three years of production, and by the end of the 1930s, over 200 instruments were being made each month.[40] By 1966, an estimated 50,000 churches had installed a Hammond.[41] For all its subsequent success with professional musicians, the original company did not target its products at that market, principally because Hammond did not think there would be a sufficient return.[42]

In 1936, the Federal Trade Commission (FTC) filed a complaint claiming that the Hammond Company made "false and misleading" claims in advertisements for its organ, including that the Hammond could produce "the entire range of tone coloring of a pipe organ".[43] The complaint resulted in lengthy hearing proceedings, which featured a series of auditory tests that pitted a Hammond costing about $2600 against a $75,000 Skinner pipe organ in the University of Chicago's Rockefeller Chapel.[44] During the auditory tests, sustained tones and excerpts from musical works were played on the electric and pipe organs while a group of musicians and laymen attempted to distinguish between the instruments. While attorneys for Hammond argued that the test listeners were wrong or guessed nearly half the time, witnesses for the FTC claimed that Hammond employees had unfairly manipulated the Skinner organ to sound more like the Hammond.[45] In 1938, the FTC ordered Hammond to "cease and desist" a number of advertising claims, including that its instrument was equivalent to a $10,000 pipe organ. After the FTC's decision, Hammond claimed that the hearings had vindicated his company's assertions that the organ produced "real", "fine", and "beautiful" music, phrases which were each cited in the FTC's original complaint, but not included in the "cease and desist" order. Hammond also claimed that although the hearing was expensive for his company, the proceedings generated so much publicity that "as a result we sold enough extra organs to cover the expense."[46]

The Hammond Organ Company produced an estimated two million instruments in its lifetime; these have been described as "probably the most successful electronic organs ever made".[40] A key ingredient to the Hammond organ's success was the use of dealerships and a sense of community. Several dedicated organ dealers set up business in the United States[47] and there was a bi-monthly newsletter, The Hammond Times, mailed out to subscribers.[48] Advertisements tended to show families gathered around the instrument, often with a child playing it, as an attempt to show the organ as a center-point of home life and to encourage children to learn music.[49]

Tonewheel organs

Hammond organs, as manufactured by the original company, can be divided into two main groups:

Console organs

 
Medley
A medley played on a 1935 Model A Hammond organ through a Leslie speaker.
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The B-3 was the most popular Hammond organ, produced from 1954 to 1974.[52]

The first model in production, in June 1935, was the Model A. It contained most of the features that came to be standard on all console Hammonds, including two 61-key manuals, a 25-key pedalboard, an expression pedal, 12 reverse-color preset keys, two sets of drawbars for each manual, and one for the pedals.[28]

To address concerns that the sound of the Hammond was not rich enough to accurately mimic a pipe organ, the model BC was introduced in December 1936. It included a chorus generator, in which a second tonewheel system added slightly sharp or flat tones to the overall sound of each note. The cabinet was made deeper to accommodate this.[28] Production of the old Model A cases stopped, but the older model continued to be available as the AB until October 1938.[4]

Criticism that the Hammond organ was more aesthetically suitable to the home instead of the church led to the introduction of the model C in September 1939. It contained the same internals as the AB or BC, but covered on the front and sides by "modesty panels" to cover female organists' legs while playing in a skirt, often a consideration when a church organ was placed in front of the congregation. The model C did not contain the chorus generator, but had space in the cabinet for it to be fitted. The concurrent model D was a model C with a prefitted chorus.[53] Development of the vibrato system took place during the early 1940s, and was put into production shortly after the end of World War II. The various models available were the BV and CV (vibrato only) and BCV and DV (vibrato and chorus).[28]

 
The Concert Model E was designed for the church and features a full 32-note pedalboard.

The B-2 and C-2, introduced in 1949, allowed vibrato to be enabled or disabled on each manual separately.[54] In 1954, the B-3 and C-3 models were introduced with the additional harmonic percussion feature, advertised as "touch response percussion control".[55][56] Despite several attempts by Hammond to replace them, these two models remained popular[57] and stayed in continuous production through early 1975.[52] The last models to be manufactured were built from leftover stock that remained, and are not considered as good as earlier models.[29]

To cater more specifically to the church market, Hammond introduced the Concert Model E in July 1937, which included a full 32-note pedalboard and four electric switches known as toe pistons, allowing various sounds to be selected by the feet.[58] The model E was replaced by the model RT in 1949, which retained the full-sized pedalboard, but otherwise was internally identical to the B and C models. RT-2 and RT-3 models subsequently appeared in line with the B-2/C-2 and B-3/C-3, respectively.[59]

 
The H-100 was an unsuccessful attempt to replace the B-3

In 1959, Hammond introduced the A-100 series. It was effectively a self-contained version of the B-3/C-3, with an internal power amplifier and speakers. The organ was manufactured in a variety of different chassis, with the last two digits of the specific model number determining the style and finish of the instrument. For example, A-105 was "Tudor styling in light oak or walnut", while the A-143 was "warm cherry finish, Early American styling".[60] This model numbering scheme was used for several other series of console and spinet organs that subsequently appeared. The D-100 series, which provided a self-contained version of the RT-3, followed in 1963.[9]

The E-100 series was a cost-reduced version of the A-100 introduced in 1965, with only one set of drawbars per manual, a reduced number of presets, and a slightly different tone generator.[61] This was followed by the H-100 series, with a redesigned tonewheel generator and various other additional features.[57] An extended model, the H-300, also featured an integrated drum machine.[62] The organ was not particularly well made, and suffered a reputation for being unreliable. Hammond service engineer Harvey Olsen said, "When they [H-100s] work, they sound pretty decent. But die-hard enthusiasts won't touch it."[63]

Spinet organs

 
The L-100 spinet was particularly popular in the UK.[64]

Though the instrument had been originally designed for use in a church, Hammond realized that the amateur home market was a far more lucrative business, and started manufacturing spinet organs in the late 1940s.[65] Outside of the United States, they were manufactured in greater numbers than the consoles, and hence were more widely used. Several different types of M series instruments were produced between 1948 and 1964; they contained two 44-note manuals with one set of drawbars each, and a 12-note pedalboard. The M model was produced from 1948 to 1951, the M-2 from 1951 to 1955, and the M-3 from 1955 to 1964.[12] The M series was replaced by the M-100 series in 1961, which used a numbering system to identify the body style and finish as used on earlier console series. It included the same manuals as the M, but increased the pedalboard size to 13 notes, stretching a full octave, and included a number of presets.[66]

 
The T-402 was one of the last tonewheel organs manufactured and included a built in drum machine

The L-100 series entered production at the same time as the M-100. It was an economy version, with various cost-cutting changes so the organ could retail for under $1,000. The vibrato was a simpler circuit than on other consoles and spinets. Two variations of the vibrato were provided, plus a chorus that mixed various vibrato signals together. The expression pedal, based on a cheaper design, was not as sophisticated as on the other organs.[67] The L-100 sold particularly well in the UK, with several notable British musicians using it instead of a B-3 or C-3.[64]

The T series, produced from 1968 to 1975, was the last of the tonewheel spinet organs. Unlike all the earlier Hammond organs, which used vacuum tubes for preamplification, amplification, percussion and chorus-vibrato control, the T series used all-solid-state, transistor circuitry, though, unlike the L-100, it did include the scanner-vibrato as seen on the B-3.[68] Other than the T-100 series models, all other T-Series models included a built-in rotating Leslie speaker and some included an analog drum machine,[69] while the T-500 also included a built-in cassette recorder.[70] It was one of the last tonewheel Hammonds produced.[22]

Transistor organs

 
Hammond started making transistor organs by the mid-1970s. Circa 1973–1976 Regent model pictured.

In the 1960s, Hammond began to manufacture transistor organs in response to competitors such as Lowrey and Wurlitzer who were offering them, with a greater feature set compared to tonewheel Hammonds.[71] The first organ that bridged the gap between tonewheel and transistor was the X-66, introduced in May 1967. The X-66 contained just 12 tonewheels, and used electronics for frequency division. It contained separate "vibrato bass" and "vibrato treble" in an attempt to simulate a Leslie speaker. Hammond designed it as the company's flagship product, in response to market competition and to replace the B-3. However, it was considered expensive at $9,795 and it sold poorly. It did not sound like a B-3.[72]

Hammond introduced their first integrated circuit (IC) model, the Concorde, in 1971.[73] The company had stopped manufacturing tonewheel organs entirely by 1975, due to increased financial inefficiency, and switched to making IC models full-time.[74] Console models included the 8000 Aurora (1976) and 8000M Aurora (1977), which contained drawbars and a built-in rotating speaker.[75] Spinet organs included the K-100 and J-400 series, and the "Cadette" V series. Some models included a headphone jack.[76] The B-3 and C-3 were replaced by the B-3000, designed to be a model for professional use that had the same look and feel of the earlier organs. It contained the same controls, but was 200 pounds (91 kg) lighter than a B-3. Although promoted by Hammond as a suitable replacement, musicians did not think it had a comparable sound.[77] In 1979, a Japanese offshoot, Nihon Hammond, introduced the X-5, a portable solid-state clone of the B-3.[22]

Though transistor Hammonds were criticised for their sound, the company remained commercially successful. Many such models were sold to churches, funeral homes and private residences.[78]

Hammond-Suzuki

 
Hammond-Suzuki produced the XB-3, a digital emulation of a tonewheel organ, during the 1990s

Laurens Hammond died in 1973,[22] and the company struggled to survive, proposing an acquiring of Roland in 1972, which was turned down.[79] Roland's Ikutaro Kakehashi did not believe it was practical at that point to move the entire manufacturing operation from Chicago to Japan, and also viewed Hammond's declining sales figures as a problem.[73]

In 1985, Hammond went out of business, though servicing and spares continued to be available after this under the name of the Organ Service Company.[80] In early 1986, the Hammond brand and rights were acquired by Hammond Organ Australia, run by Noel Crabbe.[1] Then in 1989, the name was purchased by the Suzuki Musical Instrument Corporation,[2] which rebranded the company as Hammond-Suzuki.[22] Although nominally a Japanese company, founder Manji Suzuki was a fan of the instrument and retained several former Hammond Organ Company staff for research and development,[81] and ensured that production would partially remain in the United States.[82] The new company produced their own brand of portable organs, including the XB-2, XB-3 and XB-5. Sound on Sound's Rod Spark, a longtime Hammond enthusiast, said these models were "a matter of taste, of course, but I don't think they're a patch on the old ones".[22]

In 2002, Hammond-Suzuki launched the New B-3, a recreation of the original electromechanical instrument using contemporary electronics and a digital tonewheel simulator. The New B-3 is constructed to appear like the original B-3, and the designers attempted to retain the subtle nuances of the familiar B-3 sound. Hammond-Suzuki promotional material states that it would be difficult for even an experienced B-3 player to distinguish between the old and new B-3 organs. A review of the New B-3 by Hugh Robjohns called it "a true replica of an original B-3 ... in terms of the look and layout, and the actual sound".[31] The instrument project nearly stalled after a breakdown in negotiations between Japanese and United States staff, the latter of whom insisted on manufacturing the case in the United States and designing the organ to identical specifications to the original.[83]

 
The Hammond SK1 included emulations of electric pianos and other keyboard sounds in addition to organ.

The company has since released the XK-3, a single-manual organ using the same digital tonewheel technology as the New B-3. The XK-3 is part of a modular system that allows an integrated lower manual and pedals to be added.[84] In response to some clones, including a variety of vintage keyboards in a single package, Hammond released the SK series of organs, which include grand piano, Rhodes piano, Wurlitzer electronic piano, Hohner clavinet, and samples of wind and brass instruments alongside the standard drawbar and tonewheel emulation.[85] Keyboard magazine's Stephen Fortner praised the single manual SK1, indicated that it gave an accurate sound throughout the range of drawbar settings, and said the organ sound was "fat, warm, utterly authentic".[86] The XK-1c model was introduced in early 2014, which is simply an organ-only version of the SK1.[87] An updated flagship organ, the XK-5, was launched in 2016,[88] and a stage keyboard, the SK-X followed in 2019, which allows a player to select an individual instrument (organ, piano or synthesizer) for each manual.[89]

In the US, Hammond manufactures a number of dedicated console organs, including the B-3mk2 and the C-3mk2, and the A-405, a Chapel Console Organ. The company has a dedicated Church Advisory Team that provides a consultancy, so churches can choose the most appropriate instrument.[90]

Speakers

Tone cabinet

The authorized loudspeaker enclosure to use with a console organ was the Hammond Tone Cabinet, which contained an external amplifier and speaker.[91] The cabinet carried a balanced mono signal and AC power directly from the organ via a six-pin cable.[92][93] Spinet organs contained their own built-in amplifier and speakers.[29]

The tone cabinet was originally the only method of adding reverberation to a Hammond organ.[94] The first models to be produced were the 20-watt A-20 and 40-watt A-40. The A-20 was designed for churches and small-capacity halls, and featured a set of doors in front of the speaker, that could be closed when the organ was not in use.[95] The D-20 was introduced in 1937 and only allowed sound from the speakers to escape by a louvred opening on one side and a gap in the top.[96] The most commercially successful set of Tone Cabinets were probably the PR series cabinets introduced in 1959. The 40-watt PR40 weighed 126 pounds (57 kg) and was 37.5 inches (950 mm) high.[97] It has a good response from bass pedals.[98]

Leslie speaker

Main article: Leslie speaker
 
Chord sequence
A simple chord sequence played on a Hammond organ through a Leslie speaker.
Problems playing this file? See media help.
 
A Leslie speaker with a transparent case

Many players prefer to play the Hammond through a rotating speaker cabinet known, after several name changes, as a Leslie speaker, after its inventor Donald J. Leslie. The typical Leslie system is an integrated speaker/amplifier combination in which sound is emitted by a rotating horn over a stationary treble compression driver, and a rotating baffle beneath a stationary bass woofer. This creates a characteristic sound because of the constantly changing pitch shifts that result from the Doppler effect created by the moving sound sources.[99]

The Leslie was originally designed to mimic the complex tones and constantly shifting sources of sound emanating from a large group of ranks in a pipe organ. The effect varies depending on the speed of the rotors, which can be toggled between fast (tremolo) and slow (chorale) using a console half-moon or pedal switch, with the most distinctive effect occurring as the speaker rotation speed changes. The most popular Leslies were the 122, which accepted a balanced signal suitable for console organs, and the 147, which accepted an unbalanced signal and could be used for spinet organs with a suitable adapter.[100] The Pro-Line series of Leslies which were made to be portable for gigging bands using solid-state amps were popular during the 1970s.[101]

 
A "half-moon"-shaped switch for changing the speed of a Leslie speaker

Leslie initially tried to sell his invention to Hammond, but Laurens Hammond was unimpressed and declined to purchase it. Hammond modified their interface connectors to be "Leslie-proof", but Leslie quickly engineered a workaround.[102] Some Hammond staff thought Laurens Hammond was being irrational and autocratic towards Leslie, but Don Leslie later said it helped give his speakers publicity.[103]

The Leslie company was sold to CBS in 1965, and the following year, Hammond finally decided to officially support the Leslie speaker. The T-200 spinet, introduced in 1968, was the first Hammond to have an integrated Leslie speaker.[103] Hammond finally purchased Leslie in 1980. Hammond-Suzuki acquired the rights to Leslie in 1992;[2] the company currently markets a variety of speakers under this name.[84] As well as faithful reissues of the original 122 speaker, the company announced in 2013 that they would start manufacturing a standalone Leslie simulator in a stomp box.[104]

Tone generation

 
The tonewheel rotates beside an electromagnetic pickup.

Although they are sometimes included in the category of electronic organs, the majority of Hammond organs are, strictly speaking, electric or electromechanical rather than electronic organs, because the sound is produced by moving parts rather than electronic oscillators.[31]

The basic component sound of a Hammond organ comes from a tonewheel. Each one rotates in front of an electromagnetic pickup. The variation in the magnetic field induces a small alternating current at a particular frequency, which represents a signal similar to a sine wave. When a key is pressed on the organ, it completes a circuit of nine electrical switches, which are linked to the drawbars. The position of the drawbars, combined with the switches selected by the key pressed, determines which tonewheels are allowed to sound.[105][106][107] Every tonewheel is connected to a synchronous motor via a system of gears, which ensures that each note remains at a constant relative pitch to every other.[108] The combined signal from all depressed keys and pedals is fed through to the vibrato system, which is driven by a metal scanner. As the scanner rotates around a set of pickups, it changes the pitch of the overall sound slightly.[109] From here, the sound is sent to the main amplifier, and on to the audio speakers.

 
Hammond CV tongenerator (whole)
 
Hammond CV tongenerator (details)
 
A prototype light-weight tonewheel generator, produced at the Hammond Organ Company's factory in Antwerp

The Hammond organ makes technical compromises in the notes it generates. Rather than produce harmonics that are exact multiples of the fundamental as in equal temperament, it uses the nearest-available frequencies generated by the tonewheels.[18] The only guaranteed frequency for a Hammond's tuning is concert A at 440 Hz.[110]

Crosstalk or "leakage" occurs when the instrument's magnetic pickups receive the signal from rotating metal tonewheels other than those selected by the organist. Hammond considered crosstalk a defect that required correcting, and in 1963 introduced a new level of resistor–capacitor filtering to greatly reduce this crosstalk, along with 50–60 Hz mains hum.[111] However, the sound of tonewheel crosstalk is now considered part of the signature of the Hammond organ, to the extent that modern digital clones explicitly emulate it.[31]

Some Hammond organs have an audible pop or click when a key is pressed.[112] Originally, key click was considered a design defect and Hammond worked to eliminate or at least reduce it with equalization filters. However, many performers liked the percussive effect, and it has been accepted as part of the classic sound. Hammond research and development engineer Alan Young said, "the professionals who were playing popular music [liked] that the attack was so prominent. And they objected when it was eliminated."[113]

Because the tones on a Hammond organ are mechanically generated, different models were manufactured for the US and European markets, which run on 110V/60Hz and 240V/50Hz AC mains respectively. The gearing and starter motors are different, and run at 1,200 RPM and 1,500 RPM respectively. Third party companies manufacturer transformers that can allow a Hammond organ designed for one region to run in the other, which are used by internationally touring bands.[114]

Clones and emulation devices

Main article: Clonewheel organ
 
According to journalist Gordon Reid, the Korg CX-3 "came close to emulating the true depth and passion of a vintage Hammond".[115]

The original Hammond organ was never designed to be transported regularly. A Hammond B-3 organ, bench, and pedalboard weighs 425 pounds (193 kg).[116] This weight, combined with that of a Leslie speaker, makes the instrument cumbersome and difficult to move between venues. This created a demand for a more portable and reliable way of generating the same sound. Electronic and digital keyboards that imitate the sound of the Hammond are referred to as "clonewheel organs".[117]

The first attempts to electronically copy a Hammond appeared in the 1970s, including the Roland VK-1 and VK-9, the Yamaha YC45D, and the Crumar Organizer. The Korg CX-3 (single manual) and BX-3 (dual manual) were the first lightweight organs to produce a comparable sound to the original. Sound on Sound's Gordon Reid said that the CX-3 "came close to emulating the true depth and passion of a vintage Hammond", particularly when played through a Leslie speaker.[115]

 
The Nord Electro emulated drawbars using buttons and a light-emitting diode display[118]

The Roland VK-7, introduced in 1997, attempted to emulate the sound of a Hammond using digital signal processing technology.[119] An updated version, the VK-8, which appeared in 2002, also provided emulations of other vintage keyboards and provided a connector for a Leslie.[120] Clavia introduced the Nord Electro in 2001; this used buttons to emulate the physical action of pulling or pushing a drawbar, with an LED graph indicating its current state.[118] Clavia has released several updated versions of the Electro since then, and introduced the Nord Stage with the same technology. The Nord C2D was Clavia's first organ with real drawbars.[121] Diversi, founded by former Hammond-Suzuki sales representative Tom Tuson in 2003, specializes in Hammond clones, and has an endorsement from Joey DeFrancesco.[122]

The Hammond organ has also been emulated in software. One prominent emulator is the Native Instruments B4 series, which has been praised for its attention to detail and choice of features. Emagic (now part of Apple) has also produced a software emulation, the EVB3. This has led to a Hammond organ module with all controls and features of the original instrument in the Logic Pro audio production suite.[123][124]

Notable players

See also: List of Hammond organ players and List of jazz organists
 
Jimmy Smith's use of the Hammond organ from the 1950s on gained commercial success and influenced other organists.

Early customers of the Hammond included Albert Schweitzer, Henry Ford, Eleanor Roosevelt, and George Gershwin.[125] The instrument was not initially favored by classical organ purists, because the tones of two notes an octave apart were in exact synchronization, as opposed to the slight variation present on a pipe organ.[126] However, the instrument did gradually become popular with jazz players. One of the first performers to use the Hammond organ was Ethel Smith, who was known as the "first lady of the Hammond organ".[127] Fats Waller and Count Basie also started using the Hammond.[126] Organist John Medeski thinks the Hammond became "the poor man's big band", but because of that, it became more economical to book organ trios.[128]

Jimmy Smith began to play Hammond regularly in the 1950s, particularly in his sessions for the BlueNote label between 1956 and 1963. He eschewed a bass player, and played all the bass parts himself using the pedals,[129] generally using a walking bassline on the pedals in combination with percussive left-hand chords. His trio format, composed of organ, guitar, and drums, became internationally known following an appearance at the Newport Jazz Festival in 1957.[126] Medeski says musicians "were inspired when they heard Jimmy Smith's records".[130] "Brother" Jack McDuff switched from piano to Hammond in the 1950s, and toured regularly throughout the 1960s and 1970s.[131] In his Hammond playing, Keith Emerson sought partly to replicate the sound achieved by McDuff in his arrangement of "Rock Candy".[132] An admirer of Billy Preston's work also, particularly the 1965 instrumental "Billy's Bag", Emerson limited the use of Leslie because he felt that was Preston's domain at the time, whereas he himself was approaching the instrument with an aesthetic combining "a white European attitude", classical music, and rock.[133]

 
"I took to riding the L100 like a bucking bronco. It weighs 350 lb; when it's on top of you, you need the adrenalin rush you get onstage to chuck it around."
Keith Emerson[134]

Booker T. Jones is cited as being the bridge from rhythm and blues to rock. British organist James Taylor said the Hammond "became popular [in the UK] when people such as Booker T. & the M.G.'s and artists on the Stax Records label came over to London and played gigs".[135] Matthew Fisher first encountered the Hammond in 1966, having heard the Small Faces' Ian McLagan playing one. When Fisher asked if he could play it, McLagan told him, "They're yelling out for Hammond players; why don't you go out and buy one for yourself?"[136] Fisher played the organ lines on Procol Harum's "A Whiter Shade of Pale", which topped the UK charts in the summer of 1967.[137][138] Steve Winwood started his musical career with the Spencer Davis Group playing guitar and piano, but he switched to Hammond when he hired one to record "Gimme Some Lovin'".[139]

Gregg Allman became interested in the Hammond after Mike Finnigan had introduced him to Jimmy Smith's music, and started to write material with it.[140] His brother Duane specifically requested he play the instrument when forming the Allman Brothers Band,[141] and he was presented with a brand new B-3 and Leslie 122RV upon joining. Allman recalls the instrument was cumbersome to transport, particularly on flights of stairs, which often required the whole band's assistance.[142] Author Frank Moriarty considers Allman's Hammond playing a vital ingredient of the band's sound.[143]

 
Jon Lord put his Hammond C-3 through an overdriven Marshall stack to fit in with Deep Purple's hard rock sound.

Deep Purple's Jon Lord became inspired to play the Hammond after hearing Jimmy Smith's "Walk on the Wild Side".[144] He modified his Hammond so it could be played through a Marshall stack to get a growling, overdriven sound,[145] which became known as his trademark and he is strongly identified with it.[146] This organ was later acquired by Joey DeFrancesco.[147] Van der Graaf Generator's Hugh Banton modified his Hammond E-100 extensively with customized electronics, including the ability to put effects such as distortion on one manual but not the other, and rewiring the motor. The modifications created, in Banton's own words, "unimaginable sonic chaos".[32]

 
Joey DeFrancesco achieved critical success in the jazz genre using both original tonewheel Hammonds and the "New B-3".

The Hammond was a key instrument in progressive rock music. Author Edward Macan thinks this is because of its versatility, allowing both chords and lead lines to be played, and a choice between quiet and clean, and what Emerson described as a "tacky, aggressive, almost distorted, angry sound".[148] However, progressive rock historian Paul Stump argued that initially, the popularity of the Hammond organ in progressive rock was less due to the suitability of the instrument to the genre than to its ubiquity in popular music, much like the electric guitar.[149] Emerson first found commercial success with the Nice, with whom he used and abused an L-100, putting knives in the instrument, setting fire to it, playing it upside down, or riding it across stage in the manner of a horse. He continued to play the instrument in this manner alongside other keyboards in Emerson, Lake and Palmer.[150] Other prominent Hammond organists in progressive rock include Argent's Rod Argent, Yes's Tony Kaye and Rick Wakeman, Focus's Thijs van Leer, Uriah Heep's Ken Hensley, Pink Floyd's Rick Wright, Kansas's Steve Walsh, Mott the Hoople's Verden Allen, and Genesis's Tony Banks. Banks later claimed he only used the Hammond because a piano was impractical to transport to gigs.[151]

Ska and reggae music made frequent use of the Hammond throughout the 1960s and 1970s. Junior Marvin started to play the instrument after hearing Booker T & the MGs' "Green Onions", although he complained about its weight.[152] Winston Wright was regarded in the music scene of Jamaica as one of the best organ players, and used the Hammond when performing live with Toots and the Maytals, as well as playing it on sessions with Lee "Scratch" Perry, Jimmy Cliff, and Gregory Isaacs.[153] Tyrone Downie, best known as Bob Marley and the Wailers' keyboard player, made prominent use of the Hammond on "No Woman, No Cry", as recorded at the Lyceum Theatre, London, for the album Live![154]

 
Barbara Dennerlein has been praised for her work on the Hammond's bass pedals.

The Hammond organ was perceived as outdated by the late 1970s, particularly in the UK, where it was often used to perform pop songs in social clubs.[155] Punk and new wave bands tended to prefer second-hand combo organs from the 1960s, or use no keyboards at all.[156] Other groups started taking advantage of cheaper and more portable synthesizers that were beginning to become available.[157] The Stranglers' Dave Greenfield was an exception to this, and used a Hammond onstage during the band's early career. Andy Thompson, better known for being an aficionado of the Mellotron, stated, "the Hammond never really went away. There are a lot of studios that have had a B-3 or C-3 sitting away in there since the 70s."[158] The instrument underwent a brief renaissance in the 1980s with the mod revival movement. Taylor played the Hammond through the 1980s, first with the Prisoners and later with the James Taylor Quartet.[159] In the 1990s, Rob Collins' Hammond playing was integral to the Prisoners-influenced sound of the Charlatans.[160][161] The sound of the Hammond has appeared in hip-hop music, albeit mostly via samples. A significant use is the Beastie Boys' 1992 single "So What'cha Want", which features a Hammond mixed into the foreground (the instrument was recorded live rather than being sampled).[162]

Jazz, blues, and gospel musicians continued to use Hammond organs into the 21st century. Barbara Dennerlein has received critical acclaim for her performances on the Hammond, particularly her use of the bass pedals,[163] and has modified the instrument to include samplers triggered by the pedals.[164] Joey DeFrancesco embraced the instrument during the 1990s, and later collaborated with Jimmy Smith.[165] He is positive about the future of the Hammond organ, saying "Everybody loves it. It makes you feel good ... I think it's bigger now than ever."[166] Grammy-winning jazz keyboardist Cory Henry learned to play the Hammond organ at age two and used it on 2016's The Revival.[167] Lachy Doley has a Hammond organ as one of his main instruments, and has been described by Glenn Hughes as "the greatest living keyboard player in the world today" and dubbed the "Hendrix of the Hammond Organ" (an accolade also given to Emerson).[168][169]

See also

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External links

 
Wikimedia Commons has media related to Hammond organs.
Official sites
  • Suzuki Musical Inst. MFG. (Japan)
  • Hammond Suzuki USA Inc.
  • Hammond Suzuki Europe B.V.
Archives
  • "Hammond Zone". Hammond/Leslie resource and home of the Hammond Zone user group
  • Peters, Bevis. . jackhollow.com. Archived from the original on October 18, 2017.
  • Glen E. Nelson. "History of the Hammond B-3 organ". TheatreOrgans.com.
  • The Hammond Organ on '120 Years Of Electronic Music' – includes original patent diagrams for the instrument
Media
  • "Electric Pipeless Organ Has Millions of Tones". Popular Mechanics. No. April 1936. Hearst Magazines. April 1936. pp. 569–571. One of the first large, detailed articles on the Hammond Organ and how it worked
  • Hammond Organ Seventieth (video). BBC. Documentary on the Hammond's seventieth anniversary
  • Hammond Organ History – YouTube
  • A History of Music and Technology: The Hammond Organ – BBC series by Nick Mason

March 20, 2023
hammond, organ, electric, organ, invented, laurens, hammond, john, hanert, first, manufactured, 1935, multiple, models, have, been, produced, most, which, sliding, drawbars, vary, sounds, until, 1975, generated, sound, creating, electric, current, from, rotati. The Hammond organ is an electric organ invented by Laurens Hammond and John M Hanert 6 and first manufactured in 1935 7 Multiple models have been produced most of which use sliding drawbars to vary sounds Until 1975 Hammond organs generated sound by creating an electric current from rotating a metal tonewheel near an electromagnetic pickup and then strengthening the signal with an amplifier to drive a speaker cabinet The organ is commonly used with the Leslie speaker Hammond organA Hammond C 3 organManufacturerThe Hammond Organ Company 1935 1985 Hammond Organ Australia 1986 1989 1 Hammond Suzuki 1989 present 2 3 Dates1935 1975 tonewheel models 1967 1985 transistor models 1986 present digital models Price 1 193 Model A 1935 4 2 745 Model B 3 1955 5 Technical specificationsPolyphonyFullOscillatorTonewheelSynthesis typeAdditiveEffectsVibrato chorus reverb harmonic percussionInput outputKeyboard2 61 note manuals 25 note pedals consoles 2 44 note manuals 13 note pedals spinets External controlAmphenol connector to Hammond Tone Cabinet or Leslie speakerAround two million Hammond organs have been manufactured The organ was originally marketed by the Hammond Organ Company to churches as a lower cost alternative to the wind driven pipe organ or instead of a piano It quickly became popular with professional jazz musicians in organ trios small groups centered on the Hammond organ Jazz club owners found that organ trios were cheaper than hiring a big band Jimmy Smith s use of the Hammond B 3 with its additional harmonic percussion feature inspired a generation of organ players and its use became more widespread in the 1960s and 1970s in rhythm and blues rock reggae and progressive rock In the 1970s the Hammond Organ Company abandoned tonewheels and switched to integrated circuits These organs were less popular and the company went out of business in 1985 The Hammond name was purchased by the Suzuki Musical Instrument Corporation which proceeded to manufacture digital simulations of the most popular tonewheel organs This culminated in the production of the New B 3 in 2002 a recreation of the original B 3 organ using digital technology Hammond Suzuki continues to manufacture a variety of organs for both professional players and churches Companies such as Korg Roland and Clavia have achieved success in providing more lightweight and portable emulations of the original tonewheel organs The sound of a tonewheel Hammond can be emulated using modern software audio plug ins Contents 1 Features 1 1 Keyboards and pedalboard 1 2 Drawbars 1 3 Presets 1 4 Vibrato and chorus 1 5 Harmonic percussion 1 6 Start and run switches 2 History 2 1 Tonewheel organs 2 1 1 Console organs 2 1 2 Spinet organs 2 2 Transistor organs 2 3 Hammond Suzuki 3 Speakers 3 1 Tone cabinet 3 2 Leslie speaker 4 Tone generation 5 Clones and emulation devices 6 Notable players 7 See also 8 References 9 External linksFeatures EditA number of features of the Hammond organ are not usually found on other keyboards like the piano or synthesizer Some are similar to a pipe organ but others are unique to the instrument 8 Keyboards and pedalboard Edit The two manuals of the Hammond B 2 C note source source A single note C played on a Hammond organ Problems playing this file See media help Unlike an American Guild of Organists pedalboard a console Hammond normally has 25 pedals 9 Most Hammond organs have two 61 note five octave keyboards called manuals As with pipe organ keyboards the two manuals are positioned on two levels close to each other Each is laid out in a similar manner to a piano keyboard except that pressing a key on a Hammond results in the sound continuously playing until it is released whereas with a piano the note s volume decays No difference in volume occurs regardless of how heavily or lightly the key is pressed unlike with a piano so overall volume is controlled by a pedal also known as a swell or expression pedal 10 The keys on each manual have a lightweight action which allows players to perform rapid passages more easily than on a piano In contrast to piano and pipe organ keys Hammond keys have a flat front profile commonly referred to as waterfall style Early Hammond console models had sharp edges but starting with the B 2 these were rounded as they were cheaper to manufacture 11 The M series of spinets also had waterfall keys which has subsequently made them ideal for spares on B 3s and C 3s 12 but later spinet models had diving board style keys which resembled those found on a church organ 13 Modern Hammond Suzuki models use waterfall keys 14 Hammond console organs come with a wooden pedalboard played with the feet for bass notes Most console Hammond pedalboards have 25 notes with the bottom note a low C and the top note a middle C two octaves higher Hammond used a 25 note pedalboard because he found that on traditional 32 note pedalboards used in church pipe organs the top seven notes were seldom used The Hammond Concert models E RT RT 2 RT 3 and D 100 had 32 note American Guild of Organists AGO pedalboards going up to the G above middle C as the top note 9 The RT 2 RT 3 and D 100 also contained a separate solo pedal system that had its own volume control and various other features 15 Spinet models have 12 or 13 note miniature pedalboards 9 Hammond organ manuals and pedalboards were originally manufactured with solid palladium alloy wire to ensure a high quality electrical connection when pressing a key 16 This design was discontinued with the introduction of the transistor organ This means tonewheel organs have between 3 2 and 8 4 grams of palladium depending on make and model 17 Drawbars Edit The sound on a Hammond is varied using drawbars similar to faders on an audio mixing board 18 The sound on a tonewheel Hammond organ is varied through the manipulation of drawbars A drawbar is a metal slider that controls the volume of a particular sound component in a similar way to a fader on an audio mixing board As a drawbar is incrementally pulled out it increases the volume of its sound When pushed all the way in the volume is decreased to zero 18 The labeling of the drawbar derives from the stop system in pipe organs in which the physical length of the pipe corresponds to the pitch produced Most Hammonds contain nine drawbars per manual The drawbar marked 8 generates the fundamental of the note being played the drawbar marked 16 is an octave below and the drawbars marked 4 2 and 1 are one two and three octaves above respectively The other drawbars generate various other harmonics and subharmonics of the note 19 While each individual drawbar generates a relatively pure sound similar to a flute or electronic oscillator more complex sounds can be created by mixing the drawbars in varying amounts 20 Because of this the Hammond organ can be considered a type of additive synthesis 21 Hammond manufactured from 1969 onwards have the footage of each drawbar engraved on its end 21 Some drawbar settings have become well known and associated with certain musicians A very popular setting is 888000000 i e with the drawbars labeled 16 5 1 3 and 8 fully pulled out and has been identified as the classic Jimmy Smith sound 22 Presets Edit Preset keys on a Hammond organ are reverse colored and sit to the left of the manuals In addition to drawbars many Hammond tonewheel organ models also include presets which make predefined drawbar combinations available at the press of a button Console organs have one octave of reverse colored keys naturals are black sharps and flats are white to the left of each manual with each key activating a preset the far left key C also known as the cancel key de activates all presets and results in no sound coming from that manual The two right most preset keys B and B activate the corresponding set of drawbars for that manual while the other preset keys produce preselected drawbar settings that are internally wired into the preset panel 23 Vibrato and chorus Edit Hammond organs have a built in vibrato effect that provides a small variation in pitch while a note is being played and a chorus effect where a note s sound is combined with another sound at a slightly different and varying pitch The best known vibrato and chorus system consists of six settings V1 V2 V3 C1 C2 and C3 i e three each of vibrato and chorus which can be selected via a rotary switch Vibrato chorus can be selected for each manual independently 24 Harmonic percussion Edit The B 3 and C 3 models introduced the concept of Harmonic Percussion which was designed to emulate the percussive sounds of the harp xylophone and marimba 25 When selected this feature plays a decaying second or third harmonic overtone when a key is pressed The selected percussion harmonic fades out leaving the sustained tones the player selected with the drawbars The volume of this percussive effect is selectable as either normal or soft 26 Harmonic Percussion retriggers only after all notes have been released so legato passages sound the effect only on the very first note or chord making Harmonic Percussion uniquely a single trigger but still a polyphonic effect 27 Start and run switches Edit Console Hammond organs such as the B 3 require two switches Start to drive the starter motor and Run to drive the main tonewheel generator Before a Hammond organ can produce sound the motor that drives the tonewheels must come up to speed On most models starting a Hammond organ involves two switches The Start switch turns a dedicated starter motor which must run for about 12 seconds Then the Run switch is turned on for about four seconds The Start switch is then released whereupon the organ is ready to generate sound 28 29 The H 100 and E series consoles and L 100 and T 100 spinet organs however had a self starting motor that required only a single On switch 30 A pitch bend effect can be created on the Hammond organ by turning the Run switch off and on again This briefly cuts power to the generators causing them to run at a slower pace and generate a lower pitch for a short time Hammond s New B3 contains similar switches to emulate this effect though it is a digital instrument 31 32 History EditThe Hammond organ s technology derives from the Telharmonium an instrument created in 1897 by Thaddeus Cahill 33 The telharmonium used revolving electric alternators which generated tones that could be transmitted over wires The instrument was bulky enough to require several railway cars for its transportation because the alternators had to be large enough to generate high voltage for a loud enough signal The Hammond organ solved this problem by using an amplifier 34 Laurens Hammond graduated from Cornell University with a mechanical engineering degree in 1916 By the start of the 1920s he had designed a spring driven clock which provided enough sales for him to start his own business the Hammond Clock Company in 1928 As well as clocks his early inventions included three dimensional glasses and an automatic bridge table shuffler 35 However as the Great Depression continued into the 1930s sales of the bridge table declined and he decided to look elsewhere for a commercially successful product 33 Hammond was inspired to create the tonewheel or phonic wheel by listening to the moving gears of his electric clocks and the tones produced by them 36 He gathered pieces from a second hand piano he had purchased for 15 and combined it with a tonewheel generator in a similar form to the telharmonium albeit much shorter and more compact Since Hammond was not a musician he asked the company s assistant treasurer W L Lahey to help him achieve the desired organ sound 37 To cut costs Hammond made a pedalboard with only 25 notes instead of the standard 32 on church organs and it quickly became a de facto standard 36 On April 24 1934 Hammond filed a patent for an electrical musical instrument 38 which was personally delivered to the patent office by Hanert explaining that they could start production immediately and it would be good for local employment in Chicago 39 The invention was unveiled to the public in April 1935 and the first model the Model A was made available in June of that year 4 Over 1 750 churches purchased a Hammond organ in the first three years of production and by the end of the 1930s over 200 instruments were being made each month 40 By 1966 an estimated 50 000 churches had installed a Hammond 41 For all its subsequent success with professional musicians the original company did not target its products at that market principally because Hammond did not think there would be a sufficient return 42 In 1936 the Federal Trade Commission FTC filed a complaint claiming that the Hammond Company made false and misleading claims in advertisements for its organ including that the Hammond could produce the entire range of tone coloring of a pipe organ 43 The complaint resulted in lengthy hearing proceedings which featured a series of auditory tests that pitted a Hammond costing about 2600 against a 75 000 Skinner pipe organ in the University of Chicago s Rockefeller Chapel 44 During the auditory tests sustained tones and excerpts from musical works were played on the electric and pipe organs while a group of musicians and laymen attempted to distinguish between the instruments While attorneys for Hammond argued that the test listeners were wrong or guessed nearly half the time witnesses for the FTC claimed that Hammond employees had unfairly manipulated the Skinner organ to sound more like the Hammond 45 In 1938 the FTC ordered Hammond to cease and desist a number of advertising claims including that its instrument was equivalent to a 10 000 pipe organ After the FTC s decision Hammond claimed that the hearings had vindicated his company s assertions that the organ produced real fine and beautiful music phrases which were each cited in the FTC s original complaint but not included in the cease and desist order Hammond also claimed that although the hearing was expensive for his company the proceedings generated so much publicity that as a result we sold enough extra organs to cover the expense 46 The Hammond Organ Company produced an estimated two million instruments in its lifetime these have been described as probably the most successful electronic organs ever made 40 A key ingredient to the Hammond organ s success was the use of dealerships and a sense of community Several dedicated organ dealers set up business in the United States 47 and there was a bi monthly newsletter The Hammond Times mailed out to subscribers 48 Advertisements tended to show families gathered around the instrument often with a child playing it as an attempt to show the organ as a center point of home life and to encourage children to learn music 49 Tonewheel organs Edit Hammond organs as manufactured by the original company can be divided into two main groups Console organs have two 61 note manuals and a pedalboard of at least two octaves Most consoles do not have a built in power amplifier or speakers so an external amplifier and speaker cabinet is required 50 Spinet organs have two 44 note manuals and one octave of pedals plus an internal power amplifier and set of speakers 51 Console organs Edit Medley source source A medley played on a 1935 Model A Hammond organ through a Leslie speaker Problems playing this file See media help The B 3 was the most popular Hammond organ produced from 1954 to 1974 52 The first model in production in June 1935 was the Model A It contained most of the features that came to be standard on all console Hammonds including two 61 key manuals a 25 key pedalboard an expression pedal 12 reverse color preset keys two sets of drawbars for each manual and one for the pedals 28 To address concerns that the sound of the Hammond was not rich enough to accurately mimic a pipe organ the model BC was introduced in December 1936 It included a chorus generator in which a second tonewheel system added slightly sharp or flat tones to the overall sound of each note The cabinet was made deeper to accommodate this 28 Production of the old Model A cases stopped but the older model continued to be available as the AB until October 1938 4 Criticism that the Hammond organ was more aesthetically suitable to the home instead of the church led to the introduction of the model C in September 1939 It contained the same internals as the AB or BC but covered on the front and sides by modesty panels to cover female organists legs while playing in a skirt often a consideration when a church organ was placed in front of the congregation The model C did not contain the chorus generator but had space in the cabinet for it to be fitted The concurrent model D was a model C with a prefitted chorus 53 Development of the vibrato system took place during the early 1940s and was put into production shortly after the end of World War II The various models available were the BV and CV vibrato only and BCV and DV vibrato and chorus 28 The Concert Model E was designed for the church and features a full 32 note pedalboard The B 2 and C 2 introduced in 1949 allowed vibrato to be enabled or disabled on each manual separately 54 In 1954 the B 3 and C 3 models were introduced with the additional harmonic percussion feature advertised as touch response percussion control 55 56 Despite several attempts by Hammond to replace them these two models remained popular 57 and stayed in continuous production through early 1975 52 The last models to be manufactured were built from leftover stock that remained and are not considered as good as earlier models 29 To cater more specifically to the church market Hammond introduced the Concert Model E in July 1937 which included a full 32 note pedalboard and four electric switches known as toe pistons allowing various sounds to be selected by the feet 58 The model E was replaced by the model RT in 1949 which retained the full sized pedalboard but otherwise was internally identical to the B and C models RT 2 and RT 3 models subsequently appeared in line with the B 2 C 2 and B 3 C 3 respectively 59 The H 100 was an unsuccessful attempt to replace the B 3 In 1959 Hammond introduced the A 100 series It was effectively a self contained version of the B 3 C 3 with an internal power amplifier and speakers The organ was manufactured in a variety of different chassis with the last two digits of the specific model number determining the style and finish of the instrument For example A 105 was Tudor styling in light oak or walnut while the A 143 was warm cherry finish Early American styling 60 This model numbering scheme was used for several other series of console and spinet organs that subsequently appeared The D 100 series which provided a self contained version of the RT 3 followed in 1963 9 The E 100 series was a cost reduced version of the A 100 introduced in 1965 with only one set of drawbars per manual a reduced number of presets and a slightly different tone generator 61 This was followed by the H 100 series with a redesigned tonewheel generator and various other additional features 57 An extended model the H 300 also featured an integrated drum machine 62 The organ was not particularly well made and suffered a reputation for being unreliable Hammond service engineer Harvey Olsen said When they H 100s work they sound pretty decent But die hard enthusiasts won t touch it 63 Spinet organs Edit The L 100 spinet was particularly popular in the UK 64 Though the instrument had been originally designed for use in a church Hammond realized that the amateur home market was a far more lucrative business and started manufacturing spinet organs in the late 1940s 65 Outside of the United States they were manufactured in greater numbers than the consoles and hence were more widely used Several different types of M series instruments were produced between 1948 and 1964 they contained two 44 note manuals with one set of drawbars each and a 12 note pedalboard The M model was produced from 1948 to 1951 the M 2 from 1951 to 1955 and the M 3 from 1955 to 1964 12 The M series was replaced by the M 100 series in 1961 which used a numbering system to identify the body style and finish as used on earlier console series It included the same manuals as the M but increased the pedalboard size to 13 notes stretching a full octave and included a number of presets 66 The T 402 was one of the last tonewheel organs manufactured and included a built in drum machine The L 100 series entered production at the same time as the M 100 It was an economy version with various cost cutting changes so the organ could retail for under 1 000 The vibrato was a simpler circuit than on other consoles and spinets Two variations of the vibrato were provided plus a chorus that mixed various vibrato signals together The expression pedal based on a cheaper design was not as sophisticated as on the other organs 67 The L 100 sold particularly well in the UK with several notable British musicians using it instead of a B 3 or C 3 64 The T series produced from 1968 to 1975 was the last of the tonewheel spinet organs Unlike all the earlier Hammond organs which used vacuum tubes for preamplification amplification percussion and chorus vibrato control the T series used all solid state transistor circuitry though unlike the L 100 it did include the scanner vibrato as seen on the B 3 68 Other than the T 100 series models all other T Series models included a built in rotating Leslie speaker and some included an analog drum machine 69 while the T 500 also included a built in cassette recorder 70 It was one of the last tonewheel Hammonds produced 22 Transistor organs Edit Hammond started making transistor organs by the mid 1970s Circa 1973 1976 Regent model pictured In the 1960s Hammond began to manufacture transistor organs in response to competitors such as Lowrey and Wurlitzer who were offering them with a greater feature set compared to tonewheel Hammonds 71 The first organ that bridged the gap between tonewheel and transistor was the X 66 introduced in May 1967 The X 66 contained just 12 tonewheels and used electronics for frequency division It contained separate vibrato bass and vibrato treble in an attempt to simulate a Leslie speaker Hammond designed it as the company s flagship product in response to market competition and to replace the B 3 However it was considered expensive at 9 795 and it sold poorly It did not sound like a B 3 72 Hammond introduced their first integrated circuit IC model the Concorde in 1971 73 The company had stopped manufacturing tonewheel organs entirely by 1975 due to increased financial inefficiency and switched to making IC models full time 74 Console models included the 8000 Aurora 1976 and 8000M Aurora 1977 which contained drawbars and a built in rotating speaker 75 Spinet organs included the K 100 and J 400 series and the Cadette V series Some models included a headphone jack 76 The B 3 and C 3 were replaced by the B 3000 designed to be a model for professional use that had the same look and feel of the earlier organs It contained the same controls but was 200 pounds 91 kg lighter than a B 3 Although promoted by Hammond as a suitable replacement musicians did not think it had a comparable sound 77 In 1979 a Japanese offshoot Nihon Hammond introduced the X 5 a portable solid state clone of the B 3 22 Though transistor Hammonds were criticised for their sound the company remained commercially successful Many such models were sold to churches funeral homes and private residences 78 Hammond Suzuki Edit Hammond Suzuki produced the XB 3 a digital emulation of a tonewheel organ during the 1990s Laurens Hammond died in 1973 22 and the company struggled to survive proposing an acquiring of Roland in 1972 which was turned down 79 Roland s Ikutaro Kakehashi did not believe it was practical at that point to move the entire manufacturing operation from Chicago to Japan and also viewed Hammond s declining sales figures as a problem 73 In 1985 Hammond went out of business though servicing and spares continued to be available after this under the name of the Organ Service Company 80 In early 1986 the Hammond brand and rights were acquired by Hammond Organ Australia run by Noel Crabbe 1 Then in 1989 the name was purchased by the Suzuki Musical Instrument Corporation 2 which rebranded the company as Hammond Suzuki 22 Although nominally a Japanese company founder Manji Suzuki was a fan of the instrument and retained several former Hammond Organ Company staff for research and development 81 and ensured that production would partially remain in the United States 82 The new company produced their own brand of portable organs including the XB 2 XB 3 and XB 5 Sound on Sound s Rod Spark a longtime Hammond enthusiast said these models were a matter of taste of course but I don t think they re a patch on the old ones 22 In 2002 Hammond Suzuki launched the New B 3 a recreation of the original electromechanical instrument using contemporary electronics and a digital tonewheel simulator The New B 3 is constructed to appear like the original B 3 and the designers attempted to retain the subtle nuances of the familiar B 3 sound Hammond Suzuki promotional material states that it would be difficult for even an experienced B 3 player to distinguish between the old and new B 3 organs A review of the New B 3 by Hugh Robjohns called it a true replica of an original B 3 in terms of the look and layout and the actual sound 31 The instrument project nearly stalled after a breakdown in negotiations between Japanese and United States staff the latter of whom insisted on manufacturing the case in the United States and designing the organ to identical specifications to the original 83 The Hammond SK1 included emulations of electric pianos and other keyboard sounds in addition to organ The company has since released the XK 3 a single manual organ using the same digital tonewheel technology as the New B 3 The XK 3 is part of a modular system that allows an integrated lower manual and pedals to be added 84 In response to some clones including a variety of vintage keyboards in a single package Hammond released the SK series of organs which include grand piano Rhodes piano Wurlitzer electronic piano Hohner clavinet and samples of wind and brass instruments alongside the standard drawbar and tonewheel emulation 85 Keyboard magazine s Stephen Fortner praised the single manual SK1 indicated that it gave an accurate sound throughout the range of drawbar settings and said the organ sound was fat warm utterly authentic 86 The XK 1c model was introduced in early 2014 which is simply an organ only version of the SK1 87 An updated flagship organ the XK 5 was launched in 2016 88 and a stage keyboard the SK X followed in 2019 which allows a player to select an individual instrument organ piano or synthesizer for each manual 89 In the US Hammond manufactures a number of dedicated console organs including the B 3mk2 and the C 3mk2 and the A 405 a Chapel Console Organ The company has a dedicated Church Advisory Team that provides a consultancy so churches can choose the most appropriate instrument 90 Speakers EditTone cabinet Edit The authorized loudspeaker enclosure to use with a console organ was the Hammond Tone Cabinet which contained an external amplifier and speaker 91 The cabinet carried a balanced mono signal and AC power directly from the organ via a six pin cable 92 93 Spinet organs contained their own built in amplifier and speakers 29 The tone cabinet was originally the only method of adding reverberation to a Hammond organ 94 The first models to be produced were the 20 watt A 20 and 40 watt A 40 The A 20 was designed for churches and small capacity halls and featured a set of doors in front of the speaker that could be closed when the organ was not in use 95 The D 20 was introduced in 1937 and only allowed sound from the speakers to escape by a louvred opening on one side and a gap in the top 96 The most commercially successful set of Tone Cabinets were probably the PR series cabinets introduced in 1959 The 40 watt PR40 weighed 126 pounds 57 kg and was 37 5 inches 950 mm high 97 It has a good response from bass pedals 98 Leslie speaker Edit Main article Leslie speaker Chord sequence source source A simple chord sequence played on a Hammond organ through a Leslie speaker Problems playing this file See media help A Leslie speaker with a transparent case Many players prefer to play the Hammond through a rotating speaker cabinet known after several name changes as a Leslie speaker after its inventor Donald J Leslie The typical Leslie system is an integrated speaker amplifier combination in which sound is emitted by a rotating horn over a stationary treble compression driver and a rotating baffle beneath a stationary bass woofer This creates a characteristic sound because of the constantly changing pitch shifts that result from the Doppler effect created by the moving sound sources 99 The Leslie was originally designed to mimic the complex tones and constantly shifting sources of sound emanating from a large group of ranks in a pipe organ The effect varies depending on the speed of the rotors which can be toggled between fast tremolo and slow chorale using a console half moon or pedal switch with the most distinctive effect occurring as the speaker rotation speed changes The most popular Leslies were the 122 which accepted a balanced signal suitable for console organs and the 147 which accepted an unbalanced signal and could be used for spinet organs with a suitable adapter 100 The Pro Line series of Leslies which were made to be portable for gigging bands using solid state amps were popular during the 1970s 101 A half moon shaped switch for changing the speed of a Leslie speaker Leslie initially tried to sell his invention to Hammond but Laurens Hammond was unimpressed and declined to purchase it Hammond modified their interface connectors to be Leslie proof but Leslie quickly engineered a workaround 102 Some Hammond staff thought Laurens Hammond was being irrational and autocratic towards Leslie but Don Leslie later said it helped give his speakers publicity 103 The Leslie company was sold to CBS in 1965 and the following year Hammond finally decided to officially support the Leslie speaker The T 200 spinet introduced in 1968 was the first Hammond to have an integrated Leslie speaker 103 Hammond finally purchased Leslie in 1980 Hammond Suzuki acquired the rights to Leslie in 1992 2 the company currently markets a variety of speakers under this name 84 As well as faithful reissues of the original 122 speaker the company announced in 2013 that they would start manufacturing a standalone Leslie simulator in a stomp box 104 Tone generation Edit The tonewheel rotates beside an electromagnetic pickup Although they are sometimes included in the category of electronic organs the majority of Hammond organs are strictly speaking electric or electromechanical rather than electronic organs because the sound is produced by moving parts rather than electronic oscillators 31 The basic component sound of a Hammond organ comes from a tonewheel Each one rotates in front of an electromagnetic pickup The variation in the magnetic field induces a small alternating current at a particular frequency which represents a signal similar to a sine wave When a key is pressed on the organ it completes a circuit of nine electrical switches which are linked to the drawbars The position of the drawbars combined with the switches selected by the key pressed determines which tonewheels are allowed to sound 105 106 107 Every tonewheel is connected to a synchronous motor via a system of gears which ensures that each note remains at a constant relative pitch to every other 108 The combined signal from all depressed keys and pedals is fed through to the vibrato system which is driven by a metal scanner As the scanner rotates around a set of pickups it changes the pitch of the overall sound slightly 109 From here the sound is sent to the main amplifier and on to the audio speakers Hammond CV tongenerator whole Hammond CV tongenerator details A prototype light weight tonewheel generator produced at the Hammond Organ Company s factory in Antwerp The Hammond organ makes technical compromises in the notes it generates Rather than produce harmonics that are exact multiples of the fundamental as in equal temperament it uses the nearest available frequencies generated by the tonewheels 18 The only guaranteed frequency for a Hammond s tuning is concert A at 440 Hz 110 Crosstalk or leakage occurs when the instrument s magnetic pickups receive the signal from rotating metal tonewheels other than those selected by the organist Hammond considered crosstalk a defect that required correcting and in 1963 introduced a new level of resistor capacitor filtering to greatly reduce this crosstalk along with 50 60 Hz mains hum 111 However the sound of tonewheel crosstalk is now considered part of the signature of the Hammond organ to the extent that modern digital clones explicitly emulate it 31 Some Hammond organs have an audible pop or click when a key is pressed 112 Originally key click was considered a design defect and Hammond worked to eliminate or at least reduce it with equalization filters However many performers liked the percussive effect and it has been accepted as part of the classic sound Hammond research and development engineer Alan Young said the professionals who were playing popular music liked that the attack was so prominent And they objected when it was eliminated 113 Because the tones on a Hammond organ are mechanically generated different models were manufactured for the US and European markets which run on 110V 60Hz and 240V 50Hz AC mains respectively The gearing and starter motors are different and run at 1 200 RPM and 1 500 RPM respectively Third party companies manufacturer transformers that can allow a Hammond organ designed for one region to run in the other which are used by internationally touring bands 114 Clones and emulation devices EditMain article Clonewheel organ According to journalist Gordon Reid the Korg CX 3 came close to emulating the true depth and passion of a vintage Hammond 115 The original Hammond organ was never designed to be transported regularly A Hammond B 3 organ bench and pedalboard weighs 425 pounds 193 kg 116 This weight combined with that of a Leslie speaker makes the instrument cumbersome and difficult to move between venues This created a demand for a more portable and reliable way of generating the same sound Electronic and digital keyboards that imitate the sound of the Hammond are referred to as clonewheel organs 117 The first attempts to electronically copy a Hammond appeared in the 1970s including the Roland VK 1 and VK 9 the Yamaha YC45D and the Crumar Organizer The Korg CX 3 single manual and BX 3 dual manual were the first lightweight organs to produce a comparable sound to the original Sound on Sound s Gordon Reid said that the CX 3 came close to emulating the true depth and passion of a vintage Hammond particularly when played through a Leslie speaker 115 The Nord Electro emulated drawbars using buttons and a light emitting diode display 118 The Roland VK 7 introduced in 1997 attempted to emulate the sound of a Hammond using digital signal processing technology 119 An updated version the VK 8 which appeared in 2002 also provided emulations of other vintage keyboards and provided a connector for a Leslie 120 Clavia introduced the Nord Electro in 2001 this used buttons to emulate the physical action of pulling or pushing a drawbar with an LED graph indicating its current state 118 Clavia has released several updated versions of the Electro since then and introduced the Nord Stage with the same technology The Nord C2D was Clavia s first organ with real drawbars 121 Diversi founded by former Hammond Suzuki sales representative Tom Tuson in 2003 specializes in Hammond clones and has an endorsement from Joey DeFrancesco 122 The Hammond organ has also been emulated in software One prominent emulator is the Native Instruments B4 series which has been praised for its attention to detail and choice of features Emagic now part of Apple has also produced a software emulation the EVB3 This has led to a Hammond organ module with all controls and features of the original instrument in the Logic Pro audio production suite 123 124 Notable players EditSee also List of Hammond organ players and List of jazz organists Jimmy Smith s use of the Hammond organ from the 1950s on gained commercial success and influenced other organists Early customers of the Hammond included Albert Schweitzer Henry Ford Eleanor Roosevelt and George Gershwin 125 The instrument was not initially favored by classical organ purists because the tones of two notes an octave apart were in exact synchronization as opposed to the slight variation present on a pipe organ 126 However the instrument did gradually become popular with jazz players One of the first performers to use the Hammond organ was Ethel Smith who was known as the first lady of the Hammond organ 127 Fats Waller and Count Basie also started using the Hammond 126 Organist John Medeski thinks the Hammond became the poor man s big band but because of that it became more economical to book organ trios 128 Jimmy Smith began to play Hammond regularly in the 1950s particularly in his sessions for the BlueNote label between 1956 and 1963 He eschewed a bass player and played all the bass parts himself using the pedals 129 generally using a walking bassline on the pedals in combination with percussive left hand chords His trio format composed of organ guitar and drums became internationally known following an appearance at the Newport Jazz Festival in 1957 126 Medeski says musicians were inspired when they heard Jimmy Smith s records 130 Brother Jack McDuff switched from piano to Hammond in the 1950s and toured regularly throughout the 1960s and 1970s 131 In his Hammond playing Keith Emerson sought partly to replicate the sound achieved by McDuff in his arrangement of Rock Candy 132 An admirer of Billy Preston s work also particularly the 1965 instrumental Billy s Bag Emerson limited the use of Leslie because he felt that was Preston s domain at the time whereas he himself was approaching the instrument with an aesthetic combining a white European attitude classical music and rock 133 I took to riding the L100 like a bucking bronco It weighs 350 lb when it s on top of you you need the adrenalin rush you get onstage to chuck it around Keith Emerson 134 Booker T Jones is cited as being the bridge from rhythm and blues to rock British organist James Taylor said the Hammond became popular in the UK when people such as Booker T amp the M G s and artists on the Stax Records label came over to London and played gigs 135 Matthew Fisher first encountered the Hammond in 1966 having heard the Small Faces Ian McLagan playing one When Fisher asked if he could play it McLagan told him They re yelling out for Hammond players why don t you go out and buy one for yourself 136 Fisher played the organ lines on Procol Harum s A Whiter Shade of Pale which topped the UK charts in the summer of 1967 137 138 Steve Winwood started his musical career with the Spencer Davis Group playing guitar and piano but he switched to Hammond when he hired one to record Gimme Some Lovin 139 Gregg Allman became interested in the Hammond after Mike Finnigan had introduced him to Jimmy Smith s music and started to write material with it 140 His brother Duane specifically requested he play the instrument when forming the Allman Brothers Band 141 and he was presented with a brand new B 3 and Leslie 122RV upon joining Allman recalls the instrument was cumbersome to transport particularly on flights of stairs which often required the whole band s assistance 142 Author Frank Moriarty considers Allman s Hammond playing a vital ingredient of the band s sound 143 Jon Lord put his Hammond C 3 through an overdriven Marshall stack to fit in with Deep Purple s hard rock sound Deep Purple s Jon Lord became inspired to play the Hammond after hearing Jimmy Smith s Walk on the Wild Side 144 He modified his Hammond so it could be played through a Marshall stack to get a growling overdriven sound 145 which became known as his trademark and he is strongly identified with it 146 This organ was later acquired by Joey DeFrancesco 147 Van der Graaf Generator s Hugh Banton modified his Hammond E 100 extensively with customized electronics including the ability to put effects such as distortion on one manual but not the other and rewiring the motor The modifications created in Banton s own words unimaginable sonic chaos 32 Joey DeFrancesco achieved critical success in the jazz genre using both original tonewheel Hammonds and the New B 3 The Hammond was a key instrument in progressive rock music Author Edward Macan thinks this is because of its versatility allowing both chords and lead lines to be played and a choice between quiet and clean and what Emerson described as a tacky aggressive almost distorted angry sound 148 However progressive rock historian Paul Stump argued that initially the popularity of the Hammond organ in progressive rock was less due to the suitability of the instrument to the genre than to its ubiquity in popular music much like the electric guitar 149 Emerson first found commercial success with the Nice with whom he used and abused an L 100 putting knives in the instrument setting fire to it playing it upside down or riding it across stage in the manner of a horse He continued to play the instrument in this manner alongside other keyboards in Emerson Lake and Palmer 150 Other prominent Hammond organists in progressive rock include Argent s Rod Argent Yes s Tony Kaye and Rick Wakeman Focus s Thijs van Leer Uriah Heep s Ken Hensley Pink Floyd s Rick Wright Kansas s Steve Walsh Mott the Hoople s Verden Allen and Genesis s Tony Banks Banks later claimed he only used the Hammond because a piano was impractical to transport to gigs 151 Ska and reggae music made frequent use of the Hammond throughout the 1960s and 1970s Junior Marvin started to play the instrument after hearing Booker T amp the MGs Green Onions although he complained about its weight 152 Winston Wright was regarded in the music scene of Jamaica as one of the best organ players and used the Hammond when performing live with Toots and the Maytals as well as playing it on sessions with Lee Scratch Perry Jimmy Cliff and Gregory Isaacs 153 Tyrone Downie best known as Bob Marley and the Wailers keyboard player made prominent use of the Hammond on No Woman No Cry as recorded at the Lyceum Theatre London for the album Live 154 Barbara Dennerlein has been praised for her work on the Hammond s bass pedals The Hammond organ was perceived as outdated by the late 1970s particularly in the UK where it was often used to perform pop songs in social clubs 155 Punk and new wave bands tended to prefer second hand combo organs from the 1960s or use no keyboards at all 156 Other groups started taking advantage of cheaper and more portable synthesizers that were beginning to become available 157 The Stranglers Dave Greenfield was an exception to this and used a Hammond onstage during the band s early career Andy Thompson better known for being an aficionado of the Mellotron stated the Hammond never really went away There are a lot of studios that have had a B 3 or C 3 sitting away in there since the 70s 158 The instrument underwent a brief renaissance in the 1980s with the mod revival movement Taylor played the Hammond through the 1980s first with the Prisoners and later with the James Taylor Quartet 159 In the 1990s Rob Collins Hammond playing was integral to the Prisoners influenced sound of the Charlatans 160 161 The sound of the Hammond has appeared in hip hop music albeit mostly via samples A significant use is the Beastie Boys 1992 single So What cha Want which features a Hammond mixed into the foreground the instrument was recorded live rather than being sampled 162 Jazz blues and gospel musicians continued to use Hammond organs into the 21st century Barbara Dennerlein has received critical acclaim for her performances on the Hammond particularly her use of the bass pedals 163 and has modified the instrument to include samplers triggered by the pedals 164 Joey DeFrancesco embraced the instrument during the 1990s and later collaborated with Jimmy Smith 165 He is positive about the future of the Hammond organ saying Everybody loves it It makes you feel good I think it s bigger now than ever 166 Grammy winning jazz keyboardist Cory Henry learned to play the Hammond organ at age two and used it on 2016 s The Revival 167 Lachy Doley has a Hammond organ as one of his main instruments and has been described by Glenn Hughes as the greatest living keyboard player in the world today and dubbed the Hendrix of the Hammond Organ an accolade also given to Emerson 168 169 See also EditChord organ List of Hammond organs NovachordReferences Edit a b Marmon Group sells Hammond Organ rights Chicago Sun Times January 3 1986 Archived from the original on June 11 2014 Retrieved July 31 2013 a b c Faragher 2011 p 14 Hammond XK 3 STORY 3 History locus of Hammond Combo Organ in Japanese Hammond Suzuki Co Ltd April 22 2005 Archived from the original on July 15 2009 a b c Vail 2002 p 68 Vail 2002 pp 66 69 Bush amp Kassel 2006 p 168 Corbin 2006 p 151 Faragher 2011 p 34 a b c d Vail 2002 p 76 Faragher 2011 p 33 34 Faragher 2011 p 50 a b Vail 2002 p 89 Lenhoff amp Robertson 2019 p 67 SK Series Brochure PDF Hammond USA Retrieved March 20 2017 Faragher 2011 p 58 Hammond A 100 Service manual Hammond USA Retrieved August 31 2020 Scrap Metal Junkie Retrieved August 31 2020 a b c Campbell Greated amp Myers 2004 p 447 Lenhoff amp Robertson 2019 pp 85 86 Browne amp Browne 2001 p 361 a b Lenhoff amp Robertson 2019 p 85 a b c d e f Spark Rod October 1997 The History of the Hammond Sound on Sound Retrieved July 30 2013 Inside of Hammond Organ photograph TheatreOrgans com Faragher 2011 p 52 Faragher 2011 p 53 Clark 1999 p 47 Reid Gordon January 2004 Synthesizing tonewheel organs Sound On Sound Archived from the original on August 27 2008 Retrieved July 30 2013 a href Template Cite journal html title Template Cite journal cite journal a Cite journal requires journal help a b c d Vail 2002 p 69 a b c Lenhoff amp Robertson 2019 p 84 Vail 2002 pp 83 87 a b c d Robjohns Hugh Hammond B3 Modelled Electromechanical Tonewheel Organ Sound on Sound July 2003 Archived from the original on November 6 2006 a b Faragher 2011 p 369 a b BBC World Service The Documentary Podcast A History of Music and Technology The Hammond Organ BBC Retrieved July 2 2019 Vail 2002 p 36 Vail 2002 p 55 a b Vail 2002 p 63 Vail 2002 p 57 US patent 1956350 Laurens Hammond Electrical Musical Instrument issued April 24 1934 Vail 2002 p 59 a b Waring 2002 p 319 Faragher 2011 p 26 Vail 2002 p 60 Federal Trade Commission Decision Official Findings and Order The American Organist 21 8 August 1938 Federal Trade Commission Sponsors Auditory Test Hammond vs 75 000 Organ Piano Trade Magazine April 1937 Hammond Arguments presented in Briefs The Diapason May 1 1938 Hammond is Ordered to Cease and Desist The Diapason August 1 1938 Faragher 2011 p 16 Faragher 2011 p 18 Faragher 2011 p 25 Lenhoff amp Robertson 2019 p 72 Bush amp Kassel 2006 p 169 a b Vail 2002 p 33 Vail 2002 p 71 Faragher 2011 p 54 Vail 2002 p 33 49 Events of the Year 1955 in the Organ World in Review PDF The Diapason 47 2 6 January 1 1956 a b Vail 2002 p 83 Vail 2002 p 72 Vail 2002 p 74 Vail 2002 pp 74 75 Vail 2002 p 77 Faragher 2011 p 84 Vail 2002 p 85 86 a b Faragher 2011 p 78 Theberge 1997 p 47 Vail 2002 p 91 Vail 2002 p 87 Vail 2002 p 92 Hammond T series Owner s Manual The Hammond Organ Company Retrieved August 1 2013 Hammond T 500 series service manual The Hammond Organ Company pp 1 1 Retrieved August 1 2013 Faragher 2011 p 82 Vail 2002 pp 94 95 a b Kakehashi 2002 p 176 Riley 2006 p 58 63 Welch Jerry 2011 Organ Identification Organ Service Company Inc Retrieved July 31 2013 Faragher 2011 p 85 Faragher 2011 p 95 Faragher 2011 p 83 Reid Gordon The History Of Roland Part 1 Sound on Sound November 2004 1972 The Birth Of Roland Almost immediately after establishing the company Kakehashi received an offer from the Hammond Organ Company they wished to buy a 60 percent shareholding in the new business However he had no wish to be the junior partner in his own company for a second time so he decided to forge ahead on his own Welch Jerry 2011 Frequently Asked Questions Organ Service Company Inc Retrieved July 31 2013 Faragher 2011 p 135 Faragher 2011 p 143 Faragher 2011 p 154 a b Robjohns Hugh July 2005 Hammond XK3 XLK3 amp Leslie 2121 2101 Sound on Sound Retrieved July 31 2013 Hammond SK1 and SK2 Hammond UK Archived from the original on August 11 2013 Retrieved July 31 2013 Fortner Stephen December 13 2011 Hammond SK1 Keyboard Archived from the original on May 27 2013 Retrieved July 31 2013 Orant Tony February 7 2014 Hammond XK 1C organ review Keyboard Retrieved August 20 2014 Hammond announces new XK 5 flagship portable organ Keyboard June 8 2016 Retrieved July 18 2017 Robjohns Hugh May 2019 Hammond SKX Sound on Sound Retrieved June 20 2019 Console Organs Hammond USA November 13 2012 Retrieved July 31 2013 Watkinson Mike April 2004 Software vs Hardware Tonewheel Organ Implementations Compared Sound on Sound Retrieved July 30 2013 Leslie 147A Speaker Goff Professional Retrieved July 30 2013 Ask Mike Keyboard Vol 33 34 2007 Retrieved July 30 2013 Faragher 2011 p 65 Faragher 2011 p 60 Faragher 2011 p 61 Faragher 2011 p 63 Lenhoff amp Robertson 2019 p 75 Brice 2001 p 427 Vail 2002 p 129 Faragher 2011 p 164 Vail 2002 p 130 a b Lenhoff amp Robertson 2019 p 78 Leslie product range Hammond USA November 13 2012 Retrieved August 1 2013 Reid Gordon November 2003 Synthesizing tonewheel organs Sound on Sound Retrieved April 25 2011 Technical Information for Hammond Tone Wheel Organ Keyboard Exchange International Archived from the original on May 19 2000 Retrieved April 25 2011 Campbell Greated amp Myers 2004 p 71 Campbell Greated amp Myers 2004 p 441 Vail 2002 p 48 Stevens 2001 p 189 Hammond Filter Capacitor Replacement Kit Goff Professional Retrieved July 30 2013 Gallagher 2008 p 105 Vail 2002 p 45 Lenhoff amp Robertson 2019 pp 88 89 a b Reid Gordon January 2001 Korg CX3 Sound on Sound Archived from the original on February 18 2015 Retrieved July 30 2013 Vail 2002 p 9 Joey DeFrancesco born to play B 3 organ Mercury News February 14 2014 Retrieved March 17 2017 a b Reid Gordon December 2001 Clavia Nord Electro Sound on Sound Retrieved July 30 2013 Magnus Nick July 1997 Roland VK 7 Sound on Sound Retrieved July 30 2013 Reid Gordon September 2002 Roland VK 8 Sound on Sound Archived from the original on March 22 2014 Retrieved July 30 2013 Reid Gordon October 2012 Clavia Nord C2D Sound on Sound Retrieved July 30 2013 Faragher 2011 p 148 Magnus Nick January 2006 Native Instruments B4 II Sound on Sound Retrieved July 30 2003 Logic Pro 10 1 review Mac World Retrieved August 17 2015 a href Template Cite journal html title Template Cite journal cite journal a Cite journal requires journal help Vail 2002 p 15 a b c Kirchner 2005 p 384 Corbin 2006 p 153 Vail 2002 p 18 Bogdanov Woodstra amp Erlewine 2002 p 1170 Vail 2002 p 19 Davis 2012 p 236 Vail 2002 p 168 Vail 2002 p 169 Glancey Jonathan May 31 2002 Hendrix of the Hammond The Guardian Retrieved August 1 2013 Vail 2002 p 21 Johansen 2001 p 65 Johansen 2001 p 66 Macan 1997 p 33 Welch 1990 p 73 Allman 2012 p 67 68 Allman 2012 p 97 Allman 2012 pp 100 101 Moriarty 2003 p 44 Cohen Scott October 1974 Deep Purple s Jon Lord and Burn Circus Magazine 42 45 Retrieved July 30 2013 a href Template Cite journal html title Template Cite journal cite journal a Cite journal requires journal help Till 2010 p 122 Jon Lord A Biography Jon Lord official site June 25 2007 Retrieved August 17 2013 Vail 2002 p 186 Macan 1997 p 34 Stump 1997 pp 196 197 Cateforis 2011 p 158 Awde 2008 p 200 Masouri 2010 p 71 Moskowitz 2006 p 320 Masouri 2010 p 596 Fowles amp Wade 2012 pp 165 166 Cateforis 2011 p 104 160 Fowles amp Wade 2012 pp 136 137 Awde 2008 p 531 Bogdanov 2001 p 507 Perrone Pierre July 29 1996 Obituary Rob Collins independent co uk Retrieved June 15 2021 Hodgkinson Will April 14 2012 I was smothering myself with myself stardom was never real the conversation The Times ISSN 0140 0460 Retrieved June 15 2021 via ProQuest Vail 2002 p 22 Bogdanov Woodstra amp Erlewine 2002 p 325 Enstice amp Stockhouse 2004 pp 96 110 Huey Steve Joey DeFrancesco Artist Biography AllMusic Retrieved July 30 2013 Faragher 2011 p 248 Michelle Mercer Music Review The Revival Cory Henry NPR org Retrieved May 15 2016 The Jimi Hendrix of the Hammond Organ 4BC November 23 2018 Retrieved November 4 2021 Lachy Doley finding the joy of musical freedom ABC Local May 31 2017 Retrieved November 4 2021 BibliographyAllman Gregg 2012 My Cross to Bear HarperCollins ISBN 978 0 06 211204 0 Awde Nick 2008 Mellotron The Machine and the Musicians that Revolutionised Rock Bennet amp Bloom ISBN 978 1 898948 02 5 Bogdanov Vladimir Woodstra Chris Erlewine Stephen Thomas eds 2002 All Music Guide to Jazz The Definitive Guide to Jazz Music Backbeat Books ISBN 978 0 87930 717 2 Bogdanov Vladimir ed 2001 All Music Guide to Electronica The Definitive Guide to Electronic Music Backbeat Books ISBN 978 0 87930 628 1 Brice Richard 2001 Music Engineering Newnes ISBN 978 0 7506 5040 3 Browne Ray Broadus Browne Pat 2001 The Guide to United States Popular Culture Popular Press ISBN 978 0 87972 821 2 Bush Douglas Earl Kassel Richard 2006 The Organ An Encyclopedia Routledge Chapman amp Hall ISBN 978 0 415 94174 7 Campbell Murray Greated Clive Alan Myers Arnold 2004 Musical Instruments History Technology and Performance of Instruments of Western Music Oxford University Press ISBN 978 0 19 816504 0 Cateforis Theo 2011 Are We Not New Wave Modern Pop at the Turn of the 1980s University of Michigan Press ISBN 978 0 472 03470 3 Clark Merrill 1999 Complete Blues Keyboard Method Mastering Blues Keyboard Alfred Music Publishing ISBN 978 1 4574 1396 4 Corbin Alfred 2006 The Third Element A Brief History of Electronics AuthorHouse ISBN 978 1 4678 1338 9 Davis John S 2012 Historical Dictionary of Jazz Scarecrow Press ISBN 978 0 8108 6757 4 Enstice Wayne Stockhouse Janis 2004 Jazzwomen Conversations with Twenty One Musicians Indiana University Press ISBN 978 0 253 01014 8 Faragher Scott 2011 The Hammond Organ An introduction to the instrument and the players who made it famous Hal Leonard Corporation ISBN 978 1 4584 0287 5 Fowles Paul Wade Graham 2012 Concise History of Rock Music Mel Bay Publications ISBN 978 1 61911 016 8 Gallagher Mitch 2008 The Music Tech Dictionary A Glossary of Audio Related Terms and Technologies Cengage Learning ISBN 978 1 59863 914 8 Johansen Claes 2001 Procol Harum Beyond the Pale SAF Publishing Ltd p 77 ISBN 978 0 946719 28 0 Kakehashi Ikutarō 2002 I Believe in Music Life Experiences and Thoughts on the Future of Electronic Music by the Founder of the Roland Corporation Hal Leonard Corporation ISBN 978 0 634 03783 2 Kirchner Bill ed 2005 The Oxford Companion to Jazz Oxford University Press ISBN 978 0 19 518359 7 Lenhoff Alan Robertson David 2019 Classic Keys Keyboard sounds that launched rock music University of North Texas Press ISBN 978 1 57441 776 0 Macan Edward 1997 Rocking the Classics English Progressive Rock and the Counterculture Oxford University Press ISBN 978 0 19 509887 7 hammond organ progressive Masouri Jon 2010 Wailing Blues The Story of Bob Marley s Wailers Music Sales Group ISBN 978 0 85712 035 9 Moriarty Frank 2003 Seventies rock the decade of creative chaos Taylor Trade Publications ISBN 978 1 58979 024 7 Moskowitz David Vlado 2006 Caribbean Popular Music An Encyclopedia of Reggae Mento Ska Rock Steady and Dancehall Greenwood Publishing Group ISBN 978 0 313 33158 9 Riley Chris 2006 The Modern Organ Guide Xulon Press ISBN 978 1 59781 667 0 Shepherd John 2003 Continuum Encyclopedia of Popular Music of the World VolumeII Performance and Production Volume 11 Continuum ISBN 978 0 8264 6322 7 Stevens Floyd A 2001 Complete Course in Professional Piano Tuning Repair and Rebuilding Rowman amp Littlefield ISBN 978 0 8304 1593 9 Stump Paul 1997 The Music s All that Matters A History of Progressive Rock Quartet Books Limited ISBN 0 7043 8036 6 Theberge Paul 1997 Any Sound You Can Imagine Making Music Consuming Technology Wesleyan University Press ISBN 978 0 8195 6309 5 Till Rupert 2010 Pop Cult Religion and Popular Music Continuum ISBN 978 0 8264 3236 0 Vail Mark 2002 The Hammond Organ Beauty in the B Backbeat Books ISBN 978 0 87930 705 9 Waring Dennis G 2002 Manufacturing the Muse Estey Organs and Consumer Culture in Victorian America Wesleyan University Press ISBN 978 0 8195 6508 2 Welch Chris 1990 Steve Winwood Roll With It Perigee Books ISBN 978 0 399 51558 3 External links Edit Wikimedia Commons has media related to Hammond organs Official sitesSuzuki Musical Inst MFG Japan Hammond Suzuki USA Inc Hammond Suzuki Europe B V Archives Hammond Zone Hammond Leslie resource and home of the Hammond Zone user group Peters Bevis A complete list of vintage Hammond amp Leslie models jackhollow com Archived from the original on October 18 2017 Glen E Nelson History of the Hammond B 3 organ TheatreOrgans com The Hammond Organ on 120 Years Of Electronic Music includes original patent diagrams for the instrumentMedia Electric Pipeless Organ Has Millions of Tones Popular Mechanics No April 1936 Hearst Magazines April 1936 pp 569 571 One of the first large detailed articles on the Hammond Organ and how it worked Hammond Organ Seventieth video BBC Documentary on the Hammond s seventieth anniversary Hammond Organ History YouTube A History of Music and Technology The Hammond Organ BBC series by Nick Mason Retrieved from https en wikipedia org w index php title Hammond organ amp oldid 1130986214, wikipedia, wiki, book, books, library,

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