Unlike the Pipe Organ, Mr Hammond's design allowed variable volumes of each Harmonic represented by each drawbar. This variation gave the musician millions of combinations of harmonics, and assured that every Hammond player would be able to summon a unique voice. An extra level to the expression a Hammond Organist had at their fingertips was added because the Drawbars could be manipulated in real time.
The B-3mk2 features 4 sets of real drawbars in the size, shape and configuration of Vintage Hammonds. Few musicians realize the Chorus effect pedal widely used for Guitars and Electric Pianos had its genesis as a component of the Hammond Organ.
This effect added a high "attack" to the Organ tone at either the octave or the twelfth, with a fast note decay. This sound was reminiscent of an xylophone or clave, and became immensely popular, immediately. Perc gave the Organ a bright highlight, and every generation of music has embraced this sound. Controls for the Perc have the classic nomenclature, familiar to anyone who has ever played a Hammond.
On the B-3mk2, Perc is executed in the Digital realm, allowing a wide range of controls the organists back in the day did not possess. The 1' drawbar muting, characteristic of the Vintage Organs can be defeated, as can the drop in Drawbar volume level that accompanied the engaging of the Percussion voice. You can control the volumes and decay times as well. The inclusion of this obscure feature demonstrates the commitment to authenticity Hammond has brought to the B-3 mkII.
Inside the Vintage Hammond B-3, on one side of the tube preamp, there was a "Screwdriver Pot" with the engraved legend "Tone". This control was adjusted by the Technician installing the organ in order to tame the treble response in the instance of the organ's installation in a Church or Mortuary, where a more muted organ was desired. The control was a cocktail of upper Mid and High frequencies the proportions of which were, until recently, held secret.
The "Tone" control was basically a "hi cut" control and only went "down". You could not direct the control to go "up" for "boost". The B-3mk2 has 5 banks of 9 presets each, controlled by the Traditional "Reverse color" Preset keys at the lower end of each Manual. The entire B-3mk2 setup may be saved to a common CF Flash card for backup or restoration.
You can play these external zones with or without the B-3mk2 voices sounding.. The Xk-1c features real drawbars in the size, shape and configuration of Vintage Hammonds.
The Drawbars also serve the Combo and Pipe Organ divisions, but with a slightly different function. On the Xk-1c, Perc is executed in the Digital realm, allowing a wide range of controls the organists back in the day did not possess. In order that every key and pedal of the Laurens Hammond's Organ could access every Tonewheel as predicated by the Drawbar settings, an electro-mechanical apparatus lurked behind the keyboards, with 9 contacts corresponding to each drawbar for that keyboard and a series of contacts attached to each key.
As a key was depressed, the contacts sequentially touched, and the circuits were completed to produce the Organ tone that was registered by the Drawbars. The very nature of Electric circuitry dictated a click could be heard at the top of each note played when the current-carrying key contacts touched. Laurens Hammond considered that click to be a nuisance, and worked to no avail in order to rid his organ of that imperfection. The jazz players who embraced the Hammond Organ, however, found the click to be a percussive highlight, and wanted nothing to do with its eradication.
To make matters worse, as the Vintage Hammonds aged, the click became more pronounced, and by the Rock and Roll era, the Key Click assumed a role of importance that Laurens Hammond could never imagine. The timbre of the click may also be adjusted.
Hammond would have greatly approved of the Xk-1c, as you can turn the click all the way off if you desire, creating a Vintage Hammond Organ that could not exist in the physical world. The inclusion of this obscure feature demonstrates the commitment to authenticity Hammond has brought to the Xk-1c Series. The advent of transistor electronics brought forth smaller, more affordable portable Organs.
The Thomas Organ Company in the U. Thomas sold their Combo organs under the Vox name and their premier offering was the "Continental". Farfisa's organs became Rock icons, and the marque reached its height with its "Professional" model. The sound of the transistor Combo Organ never went out of style, and has even flourished in the "Indy" scene of the 21st Century.
The sounds of both of classic instruments are faithfully reproduced in the Xk-1c, with the ability to register them in the exact way you were able to on the originals. Both models employed a variation of Hammond's Drawbars, and an accompanying legend on the control panel marks the functions for each drawbar, for each model. The Pipe Organ division uses the Drawbars as Drawknobs to select the stops you choose.
Now you can take this majestic sound wherever you desire, whether it is to accompany Worship, Perform Classical Organ Literature, or Practice with Headphones in your Dormitory Room.
Progressive Rock groups have relied on the sounds of Classical Pipe Organs, and have had to compromise with the few inflexible samples contained in Synthesizers and Samplers, but now the sky is the limit with a Classical Pipe Organ that can be registered in the traditional manner. As is customary with Hammond, each rank of pipes may be voiced independently to the user's specification, and stored for instant recall. The main difference between Church Pipe Organs and Theatre Organs was the deep Tremulant that took the edge off the Theatre Organ's pipes and made them emotionally "sob".
Making use of an acoustic phenomenon called the "Doppler Effect", Mr. Leslie constructed a speaker cabinet that used a simple system of rotating horns and baffles to give the Hammond tone "motion" and "depth". This created a different instrument altogether, one that could play "Popular" music.
Hammond intended his organ for the Church and Classical Music, looking at "Popular" Music with disdain-he wanted nothing to do with Mr. Leslie's invention when Mr. Leslie demonstrated it. The public however, took the combination of Hammond and Leslie to heart, and so it remains to this very day. It is difficult to think of one without the other, although Mr.
Hammond never allowed Hammond Dealers to sell Leslie Speakers. After Mr. Hammond's death, the two companies became partners, and now Hammond owns and manufactures Leslie Speakers. For both Hammond and Leslie, the golden goal was to produce a Leslie that did not require motor-driven speakers, and the goal has been reached in the Xk-1c, with the finest Digital Leslie we have ever produced.
Now the elusive effect can be had where space and mobility have heretofore denied it. As an added benefit to being produced in the Digital realm, many aspects of the effect can be adjusted and tailored to ones own taste and requirement.
In addition, 8 factory Cabinets, comprising the most popular Leslie Models like the , , , Vintage H, and others are available for instant choice. A button on the Control Panel allows the bypass of the Digital Leslie circuit and sends the Organ tones directly to the Stereo Outputs.
A Manual button on the control panel renders the entire control panel current. The keypad in the center of the control panel are assignable to any of the presets for instant recall of your favorites.
The same panel may be switched to a numeric input pad for direct selection of presets. The Drawbar and Combo Organ Divisions have a number of effects that may be applied. You can play these external zones with or without the Xk-1c voice sounding. But who would want to? In many ways, the Xk-3c has surpassed the legend. Move from page to page and find the item where you want to go and touch the numbered button to see the desired display.
There are many displays, but the basic operation is the same. The [MENU] mode is displayed. Select the PAGE. Touch the Number button. Move to that page using the [PAGE] button.
Change the value. By holding down the button, you can easily go to the desired mode display. You can save time to search the page for the parmeters you want to change. Synth1 Synth1 Synth1: Sawtooth waveform with sweep filter. So some musicians turned off the power while playing in order to get that effect. Page User If you are using the Foot Switch with a stereo plug, this sets the function on the tip contact.
OFF: Does not work. Manual Keyboard, wheel by wheel. As a sample for customization, the typical 3 or 4 types The Tonewheel Set consists of 96 Tonewheels of different of settings are recorded when delivered from the factory. Page 69 4. See the illustration on the right. When the Wheel Number is selected, each parameter for the wheel 5, 6, 7, 8 is displayed. The Custom Number is selected and used, when you play.
Enter the Custom Name if necessary. To locate this mode: 1. Effect and the External Leslie Speaker. To locate this mode: There are many parameters for the built-in Leslie Effect, 1. The setting range is 0, 24 - rpm. It does not rotate at 0. Page 74 The setting range is 0 - degrees. The farther, the more stereophonic feeling it gives. Enter the name for the Cabinet as you want. On wind instruments, by changing the strength of breath. On electronic instruments with analog circuitry, by modulating the oscillator.
In the tube called triode used on this model, there are To make the vacuum tube function as a audio amplifier, a minus voltage called bias voltage 3 poles, the cathode, the plate and the grid. An Equalizer is used to adjust the tonal quality. The built-in Equalizer consists of 3 bands and Tone Control. With the 3 bands ranging bass to treble, you can boost or cut any of them. The capital letters of these four words.
MIDI is for exchanging the performance information between an electronic musical instru- ment and a sequencer etc. MIDI is an international standard, by which instruments made by different manufacturers can be connected to communicate with each other. Thus, you can send your playing information divided into 16 channels through one MIDI cable.
However, the channel must match between the sender and the receiver. Hook up as shown above. Hook up as illustrated. Page 94 The damper is effective on the piano but strange on sax. Page 95 MIDI For the details at each Template's call out, refer to the Appendix. Perform the following, step by step, to do the initializing operation.
This operation erases all data in the CF card. Insert the CF card into the slot. In this mode, you can do all the operations except the initialization of the CF card.
Touch the [3] NAM button. So you had better save them in advance. Check the CF card is correctly inserted.
If this The built-in sound engine of this organ corresponds only to the procedure is not successful, turn off the POWER switch. It contains low motor hum and some leakage noise. It contains reduced leakage noise.
Record Seq. Registration Wheel Upper Kbd. Transmit Lower Kbd. Channel Pedal Kbd. CC 81 CC 82 21 - 29 Lower , Since He began playing the Hammond Organ at age 14 while Tony Monaco then he has been challenging to attain to his ut- still living in his native home of Seattle Washington. Page Service Although every attempt has been made to insure the accuracy of the descriptive contents of this Manual, total accuracy cannot be guaranteed.
Should the owner require further assistance, inquiries should first be made to your Authorized Hammond Dealer.
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