Hammond-Leslie FAQ Version 1.25 - 15 Oct 1996 ------------------------------------------------------------------------- Welcome to the Hammond organ and Leslie speaker FAQ - a source of information, myth and lore regarding all things Hammond and Leslie for seasoned elders, new converts, skeptics, and visitors alike. It is hoped that among the fanatical ravings herein will be found real, actual, useful information. Any contributions and/or corrections are solicited and welcome. Please address them to bbaker@digital.net. A text version of this FAQ is also available online. ------------------------------------------------------------------------- Introduction The sound of the Hammond organ has been somewhat absent in popular recordings of the previous decade or so. There was a time though when its presence on stage was de rigueur for any self-respecting band - you simply weren't a real band without one. The sound of the Hammond organ is being heard once again in contemporary recordings. It has been carried to the surface recently by a "retro" movement in popular music. The Hammond/Leslie combination can be seen on stage at concert venues around the country and on late-night talk shows, usually being played by someone in a contemporary pop group. But occasionally a veteran can be seen holding court at the console, grabbing a handful of drawbars while the Leslie spools up. The Hammond - starting to rumble - a full-hand slowly ascending glissando - the expression pedal floored - feet pumping furiously - now the Hammond is a full-throated roar - the Leslie a screaming dervish - eyes closed - arms extended - clinching a two-handed altered dominant chord on both manuals... ... but I digress. What is it about the Hammond/Leslie combination that evokes zealous devotion in its advocates? Why do many of us consider the Hammond to be an instrument and other boxes with keys affixed to be merely poseurs? Well, of course, there's the sound... Some say the Hammond organ is an acquired taste. Perhaps this is true and no attempt will be made here to describe its bare-murmur-to- primal-wail-absolutely-righteous sound. But a serious listen to the best of the listed recordings in the accompanying discography should be sufficient to addict most of the uninitiated to that sound. These selections demonstrate the Hammond organ's ability as an instrument to evoke in the listener the emotion projected by the organist. That ability is the essence of the fanaticism some have toward the instrument. The Hammond/Leslie combination is an acoustic instrument, while more modern keyboards, controllers, and workstations lack this (ahem) organic quality. And then, there's the technology... The first thing you notice when you remove the back of a tone wheel Hammond and poke your curious head into its innards is... the smell of oil and wood. Behind the pre-amp lies the tone generator, the heart of the Hammond's sound. Comprising cogs, shafts, bearings, and wire, the tone generator is a classic example of American over-engineering circa 1940. The rest of the instrument is hand constructed of the same high quality. And you can still get parts. Try getting parts for your Rolakorgamaha BS-1 in the year 2030. But then, why would you want to? Working on Hammond organs can be a pleasure. Enough raving. The FAQ is organized as follows: Contents * 1.0 The Hammond Tone Wheel Organ o 1.1 What is Hammond Percussion? o 1.2 What is key click? o 1.3 What is Hammond Vibrato? o 1.4 What is the scanner? o 1.5 What drawbar registrations are common? o 1.6 What modifications are common for the Hammond? o 1.7 How often and with what is it oiled? o 1.8 When was my Hammond organ made? o 1.9 I've found a B-3 to buy - what should I look for? o 1.10 What is foldback? o 1.11 Repairs, Modifications, and Tech Tips + 1.11.1 How do I clean key contacts? + 1.11.2 How do I clean drawbar contacts? + 1.11.3 How do I adjust the preamp drive level? (B3/C3/A100/RT3) + 1.11.4 The Vibrato is making a chopping sound. How do I fix it? + 1.11.5 How do I lube the manual bus bars? + 1.11.6 How do I perform the percussion modification mentioned in section 1.6? + 1.11.7 My percussion doesn't decay. What should I look for? * 2.0 The Leslie Tone Cabinet "Pipe Voice of the Electric Organ" o 2.1 What the heck is in that thing? (The basic configuration). + 2.1.1 The Treble Rotor + 2.1.2 The Bass Rotor + 2.1.3 Amplification, etc. o 2.2 What accessories are available? o 2.3 What modifications are common for the Leslie? o 2.4 What are common mic'ing techniques? o 2.5 What Leslie is this and what is its pinout? o 2.6 How often and with what is it oiled? o 2.7 How can a single-speed Leslie be converted into a two-speed Leslie? o 2.8 What is the rotation speed of a Leslie's rotors? * 3.0 Miscellaneous o 3.1 Where can I buy reproduction cabinet parts? o 3.2 XB-2 Repairs, Modifications and Tech Tips. + 3.2.1 How do I fix loose keys on the XB-2's manual? + 3.2.2 How do I adjust the internal pots on the XB-2? + 3.2.3 How to EQ the XB-2. o 3.3 How do I connect this Hammond to that Leslie? * 4.0 Contributors to this FAQ * Appendices o A Hammond and Leslie model list. o C Bibliography (printed material, folklore, interviews, etc). o D Essential Discography. o E Parts and service suppliers list. o F Hammond and Leslie clones. o G Equipment Reviews, online schematic diagrams, other files. o H Digests from the Hammond Mailing List. ------------------------------------------------------------------------- 1.0 The Hammond Organ The Hammond tone wheel organ, first introduced by Laurens Hammond in April 1935, is the one against which all contenders are measured. For this reason its technology is outlined below, and not the technology used in more recently manufactured Hammond organs. A Hammond console organ includes two 61-key manuals; the lower, or Great, and upper, or Swell, and a pedal board consisting of 25 keys. The concert models have a 32-key pedalboard. The secret of the Hammond tone wheel organ lies in its method of tone production. The tone generator assembly consists of an AC synchronous motor connected to a geartrain which drives a series of tone wheels, each of which rotates adjacent to a magnet and coil assembly. The number of bumps on each wheel in combination with the rotational speed determines the pitch produced by a particular tone wheel assembly. The pitches approximate even-tempered tuning, (it's done with integer math after all). A note on the organ consists of the fundamental and a number of harmonics, or multiples of that frequency. In the Hammond organ, the fundamental and up to eight harmonics are available and are controlled by means of drawbars and preset keys or buttons. The setting at any particular time is applicable to one manual, either Great or Swell. (Harmonic content adjustment is provided for each manual independently.) The Hammond organ creates its tone colors through additive synthesis. 1.1 What is Hammond Percussion? Hammond Percussion is the name that Hammond gave to a patented circuit that changed the attack characteristic of a note. It does this by adding an additional tone, the Percussion signal, to the note that is depressed. The envelope of the Percussion signal is controlled to have a specific decay characteristic. The frequency of the Percussion signal is selectable to be either the 2nd or 3rd harmonic of the depressed note. The audible effect of this is that there is a chirp or ping at the attack of the note. In modern keyboard parlance the Hammond Percussion would be called "single triggered". The Percussion envelope amplifier is triggered only when a note is depressed from an all-keys-up state. After it has been triggered and as long as any upper manual keys remain depressed, no Percussion effect will be heard when additional notes are depressed. Thus to hear the percussion effect for every note of a run requires a technique that fully releases the currently pressed key prior to depressing the next one in the run. When Percussion is enabled, one of the harmonic busbar contacts from each key is used to trigger the Percussion amplifier. This removes one drawbar harmonic from the palette available to shape the sound. The stock setup removes the harmonic available at the 9th drawbar. The percussion circuit can be modified to trigger using any of the available harmonic contacts. (See section 1.11.6 for details of this modification. On the console organs equipped with percussion, it is enabled only on the upper manual, and only while using "B" preset. 1.2 What is key click? The sound produced by early Hammond organs differed from pipe organs in one characteristic way. There was an attack transient that sounded like a click or pop when a key was pressed. This was considered a defect. Considerable design efforts were made to reduce it but it could never be eliminated. Later rock and blues players found the key click characteristic to be desireable and some jazz organists consider it to be essential. Many Hammond organ simulators include a key click control to reproduce this characteristic. 1.3 What is Hammond Vibrato? Provided on the organs so equipped are vibrato and chorus settings V1,V2,V3 and C1,C2,C3. Vibrato is the periodic raising and lowering of the pitch, and is thus fundamentally different from tremolo which is a variation in only the loudness of the pitch. The hammond vibrato is implemented using a tapped delay line, really a low-pass filter. The signal is applied to the delay line and a rotating scanner, attached to one end of the tone generator assembly, picks the signal off of the delay line at the tap points. The scanner, a single-pole 16-throw air-dielectric capacitor switch, is wired so that the tap point will traverse the entire delay line twice, once up the delay line and once back down, for each scanner rotation. As the delay line is traversed phase is added-to and then subtracted-from the signal. The chorus signal is produced by adding non-pitch-shifted signal to the pitch-shifted signal. The three settings each of vibrato and chorus correspond to different amounts of total delay thus different amounts of total pitch shift. In addition to the pitch shifting function, the vibrato, as implemented in the Hammond organ, also acts as a sweeping low-pass filter. There is some frequency response and amplitude variation as the tap point of the filter is swept. 1.4 What is the scanner? The scanner is used in the organ as a single-pole 16-throw rotary switch. It is constructed as a multi-plate air-dielectric capacitor with 16 stator poles and one rotor. It is used, in conjunction with the vibrato delay line, to create the chorus/vibrato. 1.5 What drawbar registrations are common? Listed here are tables of drawbar settings reported to have been used in recordings of which you may be familiar. Also shown are the presets' registrations and their names as they appear in an A-102 owner's manual (contributed by Steve Blau ). --------------------------------------------------------- Popular Settings Gospel: 88 8000 008 Blues: 88 5324 588 Rod Argent (Argent) 88 0000 000 Brian Auger: 88 8110 000 2nd Percussion, C3 Vibrato Tom Coster (Santana) 88 8800 000 Jesse Crawford 80 0800 000 Setting (theatre organ sound) ELP (Keith Emerson) 88 8000 000 88 8400 080 Joey De Francesco 83 8000 000 C3 Vibrato Booker T Jones: 88 8800 000 (1st chorus) (Green Onions) 80 8800 008 (2nd chorus) 2nd Percussion Jon Lord: 88 8000 000 2nd Percussion Matthew Fisher (A 68 8600 000 Whiter Shade of 2nd Percussion, soft Percussion, Pale) short decay Jimmy Smith: 88 8000 000 3rd Percussion, C3 Vibrato 84 8848 448 Steve Winwood: 88 8888 888 80 0008 888 J.Smith can be heard playing this Errol Garner style registration on Crazy Baby, "Mack the Knife", "Makin' Whoppee". ------------------------------------------------------ Hammond Presets Standard Voices Upper Manual Lower Manual Key Registration Name Key Registration Name C -- ---- --- Cancel C -- ---- --- Cancel C# 00 5320 000 Stopped Flute C# 00 4545 440 Cello D 00 4432 000 Dulciana D 00 4432 220 Flute & String D# 00 8740 000 French Horn D# 00 7373 430 Clarinet E 00 4544 222 Salicional E 00 4544 222 Salicional F 00 5403 000 Flutes 8' & Great, no 4' F 00 6644 322 reeds F# 00 4675 300 Oboe Horn F# 00 5642 200 Open Diaposon G 00 5644 320 Swell G 00 6845 433 Full Great Diapason G# 00 6876 540 Trumpet G# 00 8030 000 Tibia Clausa A 32 7645 222 Full Swell A 42 7866 244 Full Great with 16' A# 1st Group Drawbars Upper A# 1st Group Drawbars Lower B 2nd Group Drawbars Upper B 2nd Group Drawbars Lower Theatrical Voices Upper Manual Lower Manual Key Registration Name Key Registration Name C -- ---- --- Cancel C -- ---- --- Cancel C# 00 8740 000 French Horn C# 00 4545 440 Cello 8' 8' D 00 4432 000 Dulciana 8' D 00 8408 004 Tibias 8' & 2' D# 00 4800 000 Vibraharp 8' D# 00 8080 840 Clarinet 8' Vox 8' & E 00 3800 460 E 08 8800 880 Novel Solo 8' Tibia 4' String F 60 8088 000 Theatre Solo F 00 6554 322 Accomp. 8' 16' F# 00 4685 300 Oboe Horn 8' F# 00 5642 200 Open Diaposon 8' G 60 8807 006 Full Tibias Full Accomp. 16' G 43 5434 334 16' G# 00 6888 654 Trumpet 8' G# 00 8030 000 Tibia 8' A 76 8878 667 Full Theatre A 84 7767 666 Bombarde 16' Brass 16' A# 1st Group Drawbars Upper A# 1st Group Drawbars Lower B 2nd Group Drawbars Upper B 2nd Group Drawbars Lower ------------------------------------------------------------------------- 1.6 What modifications are common for the Hammond? Reverb and percussion retrofit: Kits are availble from the usual vendors that allow the retro-fit of reverb and percussion to organs not originally equipped with them. MIDI retrofit: Kits are also available that allow the Hammond keyboard to be used as a MIDI controller. These are available both with and without velocity sensitivity. Some kits remove one set of contacts from use while others provide a separate keying mechanism, keeping the original key contacts fully functional. Preamp replacement: Solid-state amplifiers are available to replace the tube preamp in the stock Hammonds. These are used often when a Hammond is removed from its stock cabinet and re-packaged to make it "portable". Percussion modification: A modification to the percussion circuit changes the percussion amplifier's trigger source from the 9th harmonic busbar to some other source, usually the 8th. When Percussion is enabled, one of the harmonic busbar contacts from each key is used to trigger the Percussion amplifier. This removes one drawbar harmonic from the palette available to shape the sound. The stock setup removes the harmonic available at the 9th drawbar. Some players prefer to have the top-most drawbar available at all times, even when Percussion is enabled. 1.7 How often and with what is it oiled? The service manual states oiling should be performed once a year using Hammond oil, available from aftermarket suppliers (GOFF Professional, Organ Service Company Inc.). Many warnings have been issued about over oiling, however. According to Organ Service Company Inc., people over oil the scanner by filling its oil cup all the way up when actually only the wick in the cup should be saturated. The main generator is best oiled by directly filling the two funnels directly on top of the generator a couple of times each per oiling. 1.8 When was my Hammond organ made? This is one of the most common questions asked, and unfortunately, due to the lack of available factory records on production dates, one of the most difficult to answer. There is some help available however. The Hammond Age Determination List, currently maintained by Bevis Peters, is an ad hoc effort started by list members expressly for the purpose of helping individuals date their Hammond Organs and Leslie speakers. You can find a local mirror of it here. In addition to dates and model serial numbers, it provides guidelines to determine generally the age of a Hammond, based on certain features and characteristics that changed throughout the model history. Since many of the dates were delivery dates, and organs often sat on dealers showroom floors for years, it is not a definitive reference. But with it you ought to be able to get within a few years of the actual production dates. 1.9 I've found a B-3 to buy - what should I look for? Some considerations for a typical B-3 purchase (submitted by Al Goff): * If you happen to find a B-3, remember that it is at least 20 years old, with a last-model-year (1974) organ, among the hundreds of thousands sold throughout their 30 years of production. The average B-3 found in the used-organ market is around 30 years old. The average B-2, C-2 and other older model Hammond approaches 40-50 years old, regardless of the cabinet condition. * Be sure of what you are buying. Often a naive seller will not really be aware of what is he or she is selling. What's advertised as a "B-3 with Leslie" may end up being a BV with a Hammond tone cabinet. Check the data on the manufacturer's plates. Compare the features of the organ you are looking at with those features you know to be present (or absent) in that model. * Examine the overall cabinet as a good indication of the organ's treatment in life up until now. If it's in poor shape, with missing wooden parts, broken keys, etc., consider this in your assessment of the use/abuse to which the organ has been subjected. * Start the organ (see below). Test each drawbar on each manual. For B-3 or other console organs use the A# and B preset (reverse color) keys, and their corresponding sets of nine drawbars. The far left set is for the Upper Manual "A#" preset, the second set is for the Upper Manual "B" preset, the two drawbars in the middle are for the pedals, the third set is for the Lower Manual "A#" preset, and the fourth set is for the Lower Manual "B" preset. Hold a key down on the manual and try each drawbar to be sure they sound, making sure it's corresponding preset is pressed. Then, pick a preset and drawbar group and pull out the first drawbar from the left in that group (brown) and play from the first "C" note to the last "C", a total of 61 notes. It is normal for the first octave of tones to repeat on B-3 and similar organs due to the manual wiring. (This is not the case in some very early models) Then, push in the first brown drawbar and pull out the last white drawbar and starting from the second "C" (notice it's the same tone as key #61, last "C" was with the first brown drawbar out) on the same manual, play all remaining notes up to F# an octave from the end where the notes will again begin to repeat. This repeating is called foldback and is very important to the classic B-3 sound. * Repeat this procedure with all drawbar groups and both manuals. You can also try every note on every drawbar to be sure they all sound. If you have missing tones, this may be simply a broken wire on the tonewheel generator, or in the harness between the manuals, or it may be a broken resistance wire within the manuals or other problem. Some are an easy fix, some are very difficult. * Check the percussion on the B-3 and similarly equipped organs keeping in mind it only functions on the upper manual with the "B" preset. It does not work on the lower manual, or with any other preset down. Push all drawbars in, press the "B" preset for the upper manual, turn the percussion "ON" and play a note, listening for decay. Check the decay and "SECOND/THIRD" harmonic rocker switches. The "NORMAL/FAST DECAY" should function in this manner - the FAST decay should decay in about one second, the NORMAL decay should decay in about four seconds. There is an adjustment on the preamp for setting the decay. If you have no percussion, be sure you are checking it correctly. It may be simply a dead 12AU7 tube, or it may be a bad percussion transformer or other problem in the organ. * LISTEN to the START and RUN motors when you start the organ. Be sure both are functioning normally when their respective switches are set to ON. - Hammond organ starting procedure - Hold the START switch ON for eight seconds, then while still holding the START switch ON, turn the RUN switch ON and hold both switches ON for four more seconds. Let go of both. The START switch will spring to the OFF position, and the RUN switch should remain ON. * Try the pedals. Pull out one of the pedal drawbars (two in the center of the organ between the sets of nine manual drawbars) and play each pedal. Then push the first in, pull out the other and repeat the test. * Check the vibrato for each manual. The SWELL vibrato switch is for the UPPER manual, the GREAT is for the LOWER. Check all positions of the Black Vibrato knob - V1,V2,V3,C1,C2,C3. If the chorus or vibrato sounds choppy, or is dead, problems exist which require repair. A very common problem in older organs is choppy or "motorboating" vibrato and chorus, which requires vibrato scanner rebuilding. Other possibilities include preamp component problems, bad tubes, bad vibrato line box components, etc. None of these are particularly easy to fix for most owners. * If a Leslie is included be sure of the model and the Leslie's operation. Do not rely on the cabinet condition. Plug-in the cable to the Leslie, be sure the Leslie changes speeds, sounds good from both the upper horn and woofer. If the Leslie is being offered with an A-100 or other organ with an internally powered speaker, listen to the organ driving just the Leslie. The presence of sound from the organ's internal speakers can mask certain defects in the Leslie's sound. A complete Leslie comes with wood back pieces (three on 122/142/147/145 models). * Many organ deals go sour due to bad Leslie's, so don't be surprised if something is amiss. Not all organs are B-3's, and not all Leslie's are 122's or 147's. If it turns out that one or the other is not as advertised, is incomplete or is otherwise deficient, reduce the offered price, and hold your breath. Walk away if the negotiation gets nasty, or if something doesn't seem right to you. And to help you when you ask on the Mailing List about some organ you want to buy, here's Bob Schleicher's Used Organ Rating Scale... Used Organ Rating Scale OUTSTANDING Looks and works like new or better. Original finish with no blemishes or sun fade. No apparent wear anywhere. This is the one the maid polished every day and the owner made you take your shoes off to play after you serviced it yearly. EXCELLENT Slight cabinet imperfections, but original finish. Minor touch-up O.K.. Works perfectly and well maintained. VERY GOOD Same appearance as excellent, but may need busslube, scanner & other minor repairs. May have been professionally refinished. GOOD Moderate cabinet defects which are repairable. Normal wear for it's age. no major problems with keyboards or generator. FAIR This one has seen commercial service. Keyboards need key combs, upstop felts & busslube. Cabinet too far gone for restoration to good appearance. Organ is complete and has pedals and bench. POOR Major cabinet and mechanical defects. Not a practical restoration project. May or may not work, but is complete. This one was on the road for years, or killed in a church. PARTS At least some useable parts. Good for training project. Probably has shot keyboards, frozen generator, bad scanner and missing parts. With the increasing popularity of Hammonds, owners think they are all 24k gold. Fact is, it's easy to put more $$$ & time into a poor specimen than you will ever recover. Buyer beware !! 1.10 What is foldback? A Hammond console model manual has 61 keys. The number of tonewheels necessary to produce all 9 harmonics for all 61 keys is 109. Since all console models have either 82 or 91 frequency generators, certain outputs are reused for the upper harmonics of the keys at the upper end of the manual. This characteristic of repeating, for the harmonics of an upper octave, the harmonics used for a lower octave, is called foldback. Most of the console organs also have foldback of drawbar 1 of the lowest octave of the manuals; it repeats the harmonic used for drawbar 1 of the next octave above. The earliest console organs with 91 frequency generators have no foldback of the lower octave; the bottom twelve tone generator outputs are available on the first drawbar of the manuals' bottom octave. On other console organs, the lowest twelve outputs of the tone generator are available only on the pedals. Since no legitimate (Hammond authorized) explanation has yet been found as to why foldback of the lower octave was introduced, the likely explanation seems to be given in the service manual's description of the various models of tone generators. The first tone generators were 91 frequency generators. In these generators, the lowest twelve frequencies were produced using twelve wheels with two teeth each. When, subsequently, the 82 frequency generators were introduced, the lower octave foldback was implemented. The Service Manual states that the lower nine frequencies were omitted and manual and pedal rewiring made them unnecessary.(!) When the wide version of the 91 frequency generator was introduced, (from the Service Manual) "...the original twelve two-toothed wheels were replaced with twelve two-toothed complex tone wheels, which supply a fundamental tone that is enriched with the odd-number harmonics." Thus these lower twelve frequencies have a different harmonic content from the, allegedly sinusoidal, remaining seventy-nine. A narrow version of the 91 frequency generator with complex tone wheels is the one that is used in the B-3, C-3, RT-3, A-100, D-100, and some of the earlier models. The Service Manual lists the breakdown of the models that do by serial number. Incidently, there is an audible difference between the complex tone wheels and the regular tone wheels. ------------------------------------------------------------------------- 1.11 Repairs, Modifications, and Tech Tips The following methods and procedures are for those individuals that want do technical repairs on their organ. They vary in complexity from the relatively benign drawbar cleaning procedure, to the potentially damaging bus bar lubing procedure, a procedure probably best left to those with previous experience. 1.11.1 How do I clean key contacts? Three steps are mentioned in the Service Manual for progressively bad cases. 1. First, try striking the offending key 15 to 20 times in a rapid staccato manner to dislodge the dust particles and to clear the contacts. 2. If this procedure does not dislodge the dust particles, adjust the bus bar shifters. The bus bar shifter for the upper manual is a slotted shaft about 1/2" in diameter, protruding about 1/4" from the rear surface of the upper manual assembly. It is located behind the mixing transformer. The lower manual adjuster is located in the corresponding location on the lower manual. The shifter for the pedal assembly is located at the low end of the pedals. Turn the proper bus bar shifter about two turns in either direction. This operation permits the key contacts to strike a new position on the bus bar and should free all contacts of accumulated dust particles. 3. If, in extremely stubborn cases, the procedure above does not dislodge the dust particles, use a board to depress one octave of notes (or the offending key) and then adjust the bus bar shifters holding the key(s) down. A warning about procedure (3) was issued in a Keyboard article, Nov. 1991: "... 'This is extremely dangerous,'... 'and should never be done by anyone except a technician who knows that the buss bars are in absolutely perfect condition. If the keys are worn enough to have notches in their contacts, running the buss bar back and forth against depressed keys can saw those little contact wires in half.'..." Also, the preset keys are implemented similarly to regular keys, with the same type of key contacts and so forth. So if you choose to adjust the bus bar shifter, as (2) and (3), be sure that no preset keys are latched down, else the same damage could occur as in number (3) above. 1.11.2 How do I clean drawbar contacts? One suggestion... "First, pull out all the drawbars to their full 'on' position. From the rear of the organ, spray Cramolin R-5, Contact Clean, or another spray contact cleaner into the back of each drawbar, using the spray nozzle extension tube that's supplied with each product. Then work each drawbar fully in and out several times to dissolve the oxidation and dust. The second method is to insert tape head cleaner swabs coated in Vasoline into the rear of each drawbar similar to the first method, and carefully coat the top surface of the drawbar base. This also works well to quiet the noisy 'ratchet drawbars' on early Hammonds." (Attributed to Al Goff in a Keyboard Mag interview). And then there's... "We remove the drawbar contact and burnish it with a contact burnishing tool. Be sure the nichrome resistance wire (1 ohm) is not broken. If it (they) are, do not try to solder them. Go forth and buy 1/8 watt 1 ohm resistors and solder them where the wire was. They fit just duckey and work great." (List posting from Bob Schleicher). Editor's Note: Caig no longer produces Cramolin R-5, due to its Freon content. The replacement product is DeoxIT (Cramolin Red replacement), PreservIT (Cramolin Blue replacement). 1.11.3 How do I adjust the preamp drive level (B3/C3/RT3/A100)? In organs using the AO-28 preamp (also M3) driving a Leslie the drive level can be adjusted to give you both the classic Hammond growl or a clean organ sound on demand. The preamp drive level is set by adjusting a trimmer capacitor that is accessible behind a removable plug located on the cover of the box containing the swell capacitor. Here's a recommended method: (submitted by Al Goff) The setup: * Select the A# preset key, upper manual with drawbar setting 80 8808 008 (first brown drawbar and all four white drawbars pulled out to position 8). Expression pedal should be fully depressed (maximum volume), vibrato and percussion OFF. * If you regularly use pedals, pull the first (16') pedal drawbar out to position 8. The preamp trimmer on the organ should be adjusted fully clockwise. * For a tube amplifier Leslie adjust the volume control fully clockwise. For a solid-state Leslie (760, 722, 860, 900, etc), all amp controls should be almost or fully clockwise. The procedure (requires two people): * One person should play a full 5-finger "C" chord on the upper manual; use all 10 fingers if you don't normally play bass. Don't chord in the lower octave, but play a realistic full chord. If you play bass with the left hand, play bass on the first octave of the lower manual with the first four drawbars out to position 8. Play the low C-pedal if you are using pedals. * While the first person plays the above, the second person should begin turning the trimmer slowly in a counter-clockwise direction, no more than 1 turn. The organ / Leslie should be getting louder as you turn the trimmer, but should not yet be distorting. * If you like a clean organ sound then the final setting should be slightly less than the point where the Leslie starts to distort. If you like a dirtier sound then the final setting should be slightly more (1/8 of a turn) than the point where it just begins to distort. The caveats: Increasing the drive level by turning the trimmer more will only cause problems, as distortion can excessively heat the upper driver and woofer and may lead to their premature failure. The classic Hammond growl is a direct result of correct preamplifier drive adjustment, as well as a well maintained organ and Leslie. Most organs should require a trimmer adjustment no more than 1 to 1 1/2 turns open. The test: To test your freshly adjusted organ and Leslie - If you have it adjusted for a slight distortion at maximum volume, the distortion should disappear or be greatly reduced by simply pushing in the first two drawbars 2 clicks to position 6. It should still be very loud and very clean, but should have no distortion. The desired result is to have some Hammond growl on demand, and a clean organ sound at other times. Organs with solid-state Trek-II preamp should be set almost the same way, but the max drive level on the preamp is adjusted with the volume pot attached to the swell pedal control arm. Loosen the set screw and use a small screwdriver to turn the pot within the arm - do not remove the arm - all other adjustments are the same. 1.11.4 The Vibrato is making a chopping sound. How do I fix it? The presence of a motorboating or chopping sound in the Vibrato can be an indication that one or more pole pieces of the scanner have been shorted out. The likely culprit is a crystalline growth that can occur on the plated and metal composing the scanner housing (dendrite formation). This shows up as conductive whiskers or dust between the scanner body and the poles of the scanner. High humidity and temperature is said to aggravate dendrite formation. An over-oiled scanner can also cause vibrato motorboating, though it is probably an aggravating condition to the dendrite formation. The oil coats the insulators and picks up and retains conductive dust and debris, shorting out the stators. A Hammond technical bulletin was issued detailing corrective procedures to cure this condition. What follows is a shortened version of it (submitted to the list by Bob Schleicher): Before you condemn the scanner, be sure the rightmost 6AU6 is healthy. Swap with the other one to verify. If you still have the problem, measure the plate and screen voltage on V2. They should measure about 130VDC and 60VDC respectively. Plus or minus 15% is O.K. If the problem persists proceed as follows: * Remove the two springs from the coupling to the generator. * Remove the four 5/16" nuts and lockwashers at the corners of the run motor. * Unsolder the seven black wires which go to the vibrato switch and the red and blue wires at the vibrato line box. Be sure to note or mark their position. * Carefully move the motor/scanner assembly to the left and twist to move it toward back of the console. * Remove the spring clip from the rectanglular oil trough. Lift the wick and unwind the oil threads. * Remove the three screws which attach the scanner to the motor and separate the scanner from the motor. * Remove the rear cover from the scanner and unsolder the wire. Be careful not to bend the pin that the two brushes contact. Raise the end brush and slide the others off. * Make an indexing mark on the scanner by the red wire for easier reassembly. * Remove the screws from the perimeter of the scanner and remove the cover. You will now see the stators. WATCH THAT PIN ON THE BACK !!! * Remove all 16 screws, lockwashers, flatwashers and round insulators from the outside, the stators, and the square insulators from the inside. * Soak everything you just removed in denatured alcohol overnight. (The original bulletin said to soak the parts in gasoline. Yikes!). * Clean the scanner body with alcohol and a scotchbrite pad. * Spray the clean body and dry insulators with Krylon clear. Allow to dry thoroughly. WATCH THAT PIN !! * Make sure the rotor spins freely. If any oiling threads are missing or broken, this is the time to replace or splice them. * Reassemble the scanner and reinstall it. Just reverse the above procedure. Aren't you glad you made those marks now and didn't bend the pin? * When you replace the brushes, be sure to look at the bend in the brass doodads to which the springs are soldered. The lowest one goes on first. By the way, the problem of dendrite formation on the metal parts of the organ have been known to cause problems in other locations in which it can occur, the vibrato and percussion switch assemblies, etc.. 1.11.5 How do I lube the manual bus bars? Your manuals may need a bussbar lube if the notes are scratchy, intermittent, and don't respond to the bus bar shifting procedure. This procedure is probably best left to a professional technician because you can easily damage something by forcing things. (This procedure was submitted by Bob Schleicher). First, the cautions. - You can do VERY serious damage to your keyboards if this procedure is done incorrectly, so take your time and follow instructions. The manual chassis (keyboards) is very heavy. If you're not strong, use two people to remove and install them. Have all the materials on hand as well as the service manual for your instrument. You will need the following materials: 1. A can of NEVR-DUL - A treated wadding available at most hardware or antique stores. 2. A box of alcohol prep pads - any drug store. 3. Hammond Bussbar lubricant - Organ service Co. 4. A book of matches. 5. Time and patience. Refer to the service manual for your model and remove the manual chassis. Be sure to protect the finish on the organ with posterboard or several layers of newspaper positioned at the ends of the cheek blocks. * Stand the manuals on end with the presets facing up. * Remove the small rectangular plate from both keyboards, and remove the large screw which goes through the drawbar base. You will now see a gadget that retains the bussbars. Loosen the two screws and move the restraint back to allow removal of the rods. * Take your matchbook and jamb it between the cheek block and the Cancel key. This will prevent you from hitting a contact, or getting the rod back in on the wrong side of the bussbar. * Start at either the top or bottom and remove only one rod. With a gob of NEVR-DUL, wipe the rod several times. You'll be amazed at the dirt and crap you get. If the wadding sticks or tears while cleaning, inspect the palladium wire for broken or missing sections between the spot welds. If the rod is damaged, replace it. (Again, Organ Service Co.) If your organ has the round gold plated rods, this will not be a factor. Just make sure they are very clean and bright. * Now, with an alcohol prep pad, wipe the rod several times. Use one pad for each rod, dry and apply a thin coat of busslube to the rod. It's time for the fun now. Make sure the rod is not bent and re-install in the same place from which it came. CAUTION!! If you encounter any resistance, STOP. Remove the rod and again inspect for bends. Keep trying until the rod goes back in easily. I've found that on later units with the square rods, it sometimes helps to arch the rod slightly as you re-insert it. Make sure the Cancel key is down! I'd bet that a great deal of swearing is in order at this time, but DON'T FORCE THE RODS. On later consoles, there are holes for additional rods. Be sure to replace the rods in the same holes originally used. * Repeat the procedure for all 18 rods, move the retainer to the original position, replace the cover plates and re-install the keyboards. The pedal switch may need a lube too. The procedure is similar. * Apologies in advance to tech who don't want this information out there. * DON'T FORCE THE RODS and best of luck. I'm sure you'll like having all the notes play again. 1.11.6 How do I perform the percussion modification mentioned in section 1.6? The following procedure has worked on a B-3, C-3, and A-100. You will probably want a copy of your organ's schematic and wiring diagram for reference. Note: All references to soldering on drawbars are in reference to the Upper Manual "B" Preset group, which is the 2nd group of nine from the left, when viewed from the console seat. Identify the following: RESISTOR PANEL A phenolic board measuring about 1" X 5" is mounted to the rear of the upper manual just below the upper manual "B" preset drawbars. This board is called the RESISTOR PANEL. On the left side of this panel are three dual-mounting lugs. Each of the dual lugs has two wires attached of similar color. One dual-lug has two WH wires, one has two GN wires, and one has two YL wires. PRESET BUNDLE A bundle of nine multi-colored wires comes from the upper manual "B" preset key. They exit the upper manual behind the PRESET PANEL (metal bars with lots of screws). This bundle will be called the PRESET bundle. Six of the wires in this bundle are routed up and immediately below the drawbars, where they breakout of the bundle and are soldered to the drawbar ends. The remaining three of the bundle are routed below the drawbars behind the upper manual and attach to three of the dual-lugs on the RESISTOR PANEL: Color Destination BN 1st drawbar RD 2nd drawbar OR 3rd drawbar YL RESISTOR PANEL (2nd harm) GN RESISTOR PANEL (3rd harm) BL 6th drawbar VI 7th drawbar GY 8th drawbar WH RESISTOR PANEL (the percussion trigger wire) The other wires of similar colors (to those from the PRESET BUNDLE) on the RESISTOR PANEL come from the Percussion Switch assembly. The Procedure: 1. Unsolder the GY wire from the 8th drawbar. 2. Unsolder the WH wire from the 9th drawbar and solder it to the 8th drawbar. This WH wire goes to the percussion switch and this now configures the percussion to trigger from the 8th drawbar key contacts. 3. There are two WH wires soldered to one of the dual-lugs on the RESISTOR PANEL. This is the left-most lug on my A-100's Resistor Panel. One of the WH wires comes from the Percussion switch and one comes from the PRESET BUNDLE. Identify and unsolder the WH wire that comes from the PRESET BUNDLE (routed from behind the PRESET PANEL) that is attached to a dual-lug on the RESISTOR PANEL. 4. Solder the GY wire, removed in step 1, to the RESISTOR PANEL at the point where the WH wire was removed in step 3. 5. Solder the WH wire, removed from the RESISTOR PANEL in step 3, to the 9th drawbar. Splice a short length of wire to it if it's not long enough. 1.11.7 My percussion doesn't decay. What should I look for? (From Bob Schleicher's various postings on the subject to the Mailing List) The percussion gate is triggered by grounding the "K" terminal on the preamp. The ground comes to this terminal from the 1' bussbar (white wire) through the percussion switch. Our old friend metal migration is almost always the cause of percussion problems. This can be easily verified by measuring the voltage on the K terminal of your preamp (blue wire) with the percussion on and the B preset selected. With no keys depressed you should see a positive voltage of 25 - 30 volts. This should go to 0 when any key is pressed. If the voltage is very low or missing, the switch is the problem. Cleaning is the proper cure. * Select the B preset, turn the percussion to ON, NORMAL, SLOW, SECOND. * Measure the K terminal with no keys pressed. It should read 25 - 30 volts. * Now press any upper key and the reading should go to 0. If little or no voltage appears at K with no keys pressed, unsolder the blue wire and measure the voltage again. If you now have 25 - 30 volts or so, then you need to clean the percussion switch. * Remove the music rack, the two large screws and two wood screws which secure the drawbar base, place heavy paper at either end to avoid scratches and raise the drawbar base 4 to 5 inches. * Remove the two screws from the percussion switch cover and remove it. * Spray the interior of the percussion switch housing and contacts with a good non-residual cleaner and retest to see if it works. As only about 1/2 of the contacts are reachable from the back of the switch, it may be necessary to dismantle the entire switch to get results. This is not a job for the faint of heart. Many foul words have been uttered during re-assembly. Some will advise applying copius amounts of D.C. to burn the ofending bits into oblivion. I don't recommend this proceedure as severe damage to many components may occur. ------------------------------------------------------------------------- 2.0 The Leslie Tone Cabinet "Pipe Voice of the Electric Organ" The Leslie Rotating Speaker, named after its inventor, Don Leslie, is designed as a sound modification device, not a hi-fi speaker. The pairing of the Leslie Speaker with another device, usually a Hammond organ, constitutes a musical instrument. It operates on a simple principle; a directional sound source rotates at constant (or variable) speed around a fixed pivot point. The effect at the listening location, some distance removed, is quite pronounced. The characterization of a Leslie Speaker in an acoustically reflective listening area is a complicated proposition at best but at least four effects are in operation: amplitude modulation, frequency modulation, timbre shift, and apparent motion of the sound. Since the sound source is directional, the intensity of the sound to the listener (or microphone) is dependent upon, at least, the angular position of the rotating sound source. The intensity varies as the sound source rotates and the listener perceives a periodic modulation of the sound as a function of the rotational speed. This is the amplitude modulation (AM) component of the sound and when the listening position or microphone is placed closer to the sound source it will, in general, increase the AM component of the sound. The sound source when rotating is periodically accelerating toward and decelerating away from the position of the listener. This imparts a doppler shift on the source material and thus a frequency modulation (FM) to the sound. As in other doppler induced pitch shifts the pitch is perceived to rise as the source moves toward the listener and fall when the source moves away from the listener. The directional pattern of the rotating component is frequency dependent. High frequencies exhibit more beaming than do lower frequencies, which are emanated in a more omni-directional pattern. A shift in timbre is perceived as the angular position of the sound source changes. The treble component is generally strongest when the rotating component is pointed at the listener and weakest when it is pointed away. Finally, due to the multiple reflections of the listening area and the rotating sound source, the sound appears to emanate from multiple locations imparting a sense of motion to the sound. -------------------------------------- Much of the information used for the Leslie portion of the FAQ came from an article published in 1981 in Recording-Engineer/Producer magazine, titled "Unearthing the Mysteries of the Leslie Cabinet" by Clifford A. Henricksen 2.1 The basic configuration The Leslie Loudspeakers company produced many configurations of this speaker. Models came with reverberation, two-piece cabinets, tube and solid-state amplifiers, and more. The most popular Leslie Speaker is probably the model 122. The models 122, 142, 145, and 147 all share a similar configuration. A 40-Watt monophonic amplifier drives two transducers, a 15" woofer and a 3/4" throat diameter Jensen compression driver, through a 16 ohm, 800 Hz passive crossover. The stationary compression driver fires upward into a rotating horn assembly and the stationary woofer fires downward into a rotating drum-like reflector. The rotating assemblies are mechanically belt driven by AC induction motors. In general, two speeds are available, fast and slow. The usual cabinet has three compartments. The upper compartment houses the rotating treble horn assembly. The middle compartment behaves as a vented enclosure for the woofer, contains the crossover, both drivers, and motors for both rotating assemblies. The lower compartment houses the amplifier and the rotating drum. Louvres are located on the three finished sides for upper and lower compartments. Two basic sizes of this configuration can be found. The 122 and 147 are 41"H, 20.5"D, 29"W. The 142 and 145 are 8" shorter. The 122 and and 142 have a balanced amplifier input while the 147 and 145 have an un-balanced input. The taller cabinet is alleged to have a better bass response. 2.1.1 The Treble Rotor The treble rotor is primarily responsible for the Leslie's sound characteristic. Some organists think that the slower acceleration of the lower drum detracts from the sound and disconnect power to the motors driving the drum. The compression driver fires into a vertical tube that acts as a thrust bearing for the horn, a twin-bell, conical device molded of black Bakelite. The horn starts vertically and flares horizontally. It is belt-driven by a two-speed, AC induction motor, (actually two motors; one for slow, one for fast). Three drive pulley diameters are provided to vary the rotational speed and an idler pulley is used to maintain belt tension. The treble horn, while appearing to be bi-conical, actually has only one operating side. The other side is plugged and exists to provide dynamic balancing to reduce bearing loads and prevent wobble during operation. A conical diffuser is located at the mouth of the horn. The diffuser plays a large role in defining the sound of the treble horn assembly; the dispersion pattern of the horn is changed from a single, highly directive lobe, to a more omni-directional, multi-lobed pattern. This complicates the doppler pattern and with internal reflections of the cabinet considered, provides a more characteristic sound. In addition to changing the dispersal pattern, the diffuser performs another function. With the diffuser absent, the distance of the apparent sound source from the rotation center varies inversely with frequency. That is, as the frequency goes up, the emanation point of the sound appears to travel back down the horn toward the throat. The effect of this is that the Doppler shift becomes less as the frequency rises and thus there is less FM effect. With the diffuser in, the emanation point for all frequencies is much closer to the same rotational radius. A trade-off can be made between a higher FM component with the diffuser in, and a higher AM component (especially at high frequencies due to the single-lobed beaming), with the diffuser removed. Removing the diffuser is a common modification. Replacement horns can be purchased both with and without the diffuser. 2.1.2 The Bass Rotor The lower compartment contains a rotating wooden drum beneath the downward-firing woofer. The drum has an open top, straight sides, and a scoop that starts vertically at the top and rear of the drum and ends up horizontal at the bottom and front of the drum. A shaft runs vertically through the drum's rotational axis. The shaft is supported by a lower bearing beneath the drum that is mounted in the bottom of the cabinet. The upper bearing is mounted in a cross member that is held in place by the secured 15" woofer. The pulley is mounted at the upper end of the shaft between the drum and the woofer. The primary effect of the bass rotor is to impart AM to the signal. There is very little phase shift of frequencies below 200 Hz due to their wavelength, though some phase shift may occur up around the crossover point of 800 Hz. The result is a low-frequency pulsation or throb that is very effective when used at the slow or chorale speed. 2.1.3 Amplification, etc. The typical unit consists of a 40-Watt monophonic tube amplifier driving the above described components through a 12dB/octave, 800 Hz, 16 ohm crossover. The amplifier uses a pair of 6550s as final amplifiers. The motors that drive each rotor actually consist of a pair of motors, thus four motors exist, each with a pair of wires that plug into the amplifier chassis. 2.2 What accessories are available? Combo Pre-amp: The Leslie Combo Preamp was a chrome wedge shaped box that was designed to be used with the Leslie speakers with the un-balanced input amplifier, i.e. 147, 145, etc.. It has two 1/4" inputs, a fader for each input, a foot-switch mounted top-middle, 115VAC power cord, 6-pin connector for the interconnect cable. These are available used. Aftermarket pre-amps are available that perform the same function as the Combo Preamp but are designed to work with a variety of Leslies: balanced, un-balanced, 6-pin, 9-pin, etc.. Accessory Kits: Leslies usually need an accessory kit with the switch for slow/fast etc. Here are a few combinations: Organ Leslie Kit# B3 122 8001 C3 122 8002 RT3 122 8001 142 8010 M3 145 7271 251/351 8253 M100 147/145 7271 251 8253 A100 147 7271 2.3 What modifications are common for the Leslie? Removing the treble diffuser: As was mentioned earlier, a common modification is to remove the conical diffuser from both active and dummy horns of the treble rotor. This will cause an increase in the AM component and a decrease in the FM component of the sound. Driver Modifications: If the drivers are changed then more efficient units than the stock ones can be used. If driver impedances other than sixteen ohms are used then the crossover network must be changed to match. Bass driver: Stock replacement drivers are available through aftermarket sources. Non-stock drivers that have been recommended include JBL models E-140,K-140 and E-V model 15B. Treble driver: The stock treble driver, notoriously fragile, is not currently available. A bolt-on replacement for the stock driver is available through aftermarket sources. This sixteen ohm driver (Atlas), is slightly brighter than the original Jensen driver and is rated at sixty watts. Its use requires either a new spindle plate or a simple modification to the existing spindle plate. Non-stock drivers, Atlas model PD-60 and University Sound model EV1829, are said to be popular for treble driver replacement. The compression drivers that are normally used to replace the stock unit have a 1-inch throat diameter, with either a threaded or bolt-on mount. These will require an adaptor to allow their use with the treble horn assembly. Regarding treble drivers, the highest frequency produced by the Hammond is around 6 kHz. Treble drivers used for PA use typically produce usable power to 15 kHz and beyond. Treble drivers with exceptional high-frequency response are probably not required to reproduce an adequate amount of key click and may be un-desirable in this regard. It's really a matter of personal taste. Amplifier modification: The stock amplifier produces 40 Watts. It's a great amp and has a terrific sound but it has a tough time competing on stage with a guitar amplifier at full honk. It's not surprising that a common modification consists of some method of achieving higher power. This usually involves replacing the amplifier or else powering the Leslie from an external amplifier. The dealers listed in this FAQ can provide details of their available modifications that boost power. The increase in power will probably require a change in drivers as well. (You probably did that anyway when you blew up the treble driver). 2.4 What are common mic'ing techniques? The following methods have been recommended: - LIVE - * Use two MD421s on the upper rotor and 1 RE20 or M88 on the lower rotor. Pan the two 421s to L & R. Add the low mic panned mid way. - STUDIO - * Use two microphones, a U-87 for the top rotor, and a FET 47 on the lower rotor. Place the 87 on the opposite side from the 47. If you love the sound of the motor, and the extra presence of the keys clicking, the closer you get the better. * Use a single mic on the bass, MD421, U-87 and do M-S micing on the treble. M-S or "Mid - Side" micing is one of a family of stereo techniques usually used in orchestra recording (along with x-y etc.) In M-S, two condenser mics with selectable patterns are used. One is set cardioid facing the source, the other is placed on the same vertical plane, usually inverted on top of the other, perpendicular to the source and set to figure eight. the Cardioid is panned center, and the figure eight signal is split to two faders, one hard left, the other hardright and out of phase (very important) You have the musician play, and bring up the center mic first, then bring up the left and right channels. If you sit center as you do this, you will feel the sound spread out and almost wrap around the sides. It is important to balance the stereo by ear and not by meter since the meters will inevitably appear lopsided when the image is acoustically balanced. When using this on a spinning leslie, the sound appears to spin around your head - very psychedelic! 2.5 What Leslie is this and what is its pinout? Leslie production models and pinouts are listed in Appendix A. 2.6 How often and with what it is oiled? Tom Tuson, of Hammond Suzuki says: "You only need a drop, a tiny drop at that, about once a year. Remember a little oil goes a long, long, long, long way. DO NOT USE 3 in 1... Call Hammond and order our Leslie oil.... I know of no light oil that you can buy in a hardware store or sewing machine shop that is light enough....." 2.7 How can a single-speed Leslie be converted into a two-speed Leslie? Early model Leslies were equipped with motors which provided only the fast speed. This gave you a choice of tremolo or off. One of the first things often asked by someone that acquires one of these is whether they can be converted to provide the chorale speed as well as tremolo. This modification can be done by either using an electronic speed control, or by modification or replacement of the motors. The simplest, and probably least expensive way is to use an electronic speed control designed specifically for the purpose. This is an aftermarket kit that installs between the existing motors and the line supply. One such device gates the power to the horn and drum motors providing one or two full cycles of AC out of every eight cycles. These devices are available from at least two suppliers: Goff Professional, and Keyboard Engineering, Inc. (see Suppliers List). The single speed motors can be modified with the addition of the chorale motor and associated hardware. CAE Sound (see Suppliers List) performs this conversion. And finally, the motors can be replaced with the dual-motor style motor assembly but the cabinet may have to be modified to accept different motor mounting location. 2.8 What is the rotation speed of a Leslie's rotors? When developing the PRO-3, John Fisher measured his 147. He found that the top rotor had a rotation speed of 400 RPM on Tremolo and 48 RPM on Chorale. This was with the belt in the middle pulley position and with a normal belt tension. The lower drum rotated at about 342 RPM on Tremolo and 40 RPM on Chorale. ------------------------------------------------------------------------- 3.0 Miscellaneous 3.1 Where can I buy reproduction cases and parts? Reproduction parts are available to replace all or part of your B-3 or Leslie case. These are made of a light colored evenly grained wood and can be purchased finished or unfinished. Also available are pedal assemblies and benches. See the accompanying Parts and Suppliers list for sources. 3.2 XB-2 Repairs, Modifications, and Tech Tips Mark Longo has submitted a few postings on modifications and adjustments for the Hammond-Suzuki XB-2. Those commonly asked for are included here. 3.2.1 How do I fix loose keys on my XB-2 manual? This is a very typical problem, and fortunately, it's very easy to fix if you're even a little mechanically inclined. Each key in the XB-2 has a small guide under the part of the key that is closest to you. That guide has a little rubber-like 1/4' long tube (jacket) that slips over it. When that little jacket wears out (which it eventually will) the key's lateral positioning gets sloppy. When you grip the front of the key between your thumb and forefinger and wiggle it very gently from side-to-side if the key easily slides up against the adjacent keys, the little rubber tube has either worn thin or has completely worn out and fallen off. You'll need to replace the tube. You can get the replacement jackets from Hammond and do it yourself, or pay your dealer/shop to do it. It's better if you can do it yourself as this will keep happening periodically. Replacement jackets can been obtained direct from Hammond Suzuki USA via mail. Here's how to replace the jackets: 1. Take the top off your XB2 by loosening the 5 phillips head screws underneath the organ (be sure to unplug the AC power first!). 2. Remove the loose key (be careful you don't break it, it's only plastic!). Each key attaches to the organ at the end farthest from you as you face the keyboard. This end of the key latches through a little metal housing. Gently press the tip of the key that goes through the metal housing downward and slightly forward and the key will pop out. It may take a bit of force to do this but be careful you don't break the key. Use your fingers or a piece of hard rubber or something else that's firm but not rigid. 3. Replace the little jacket. In the space underneath the front of the key you just took out, there is a little metal tongue about 1/4" wide that's pointing toward the ceiling. Remove the old jacket (if it's still in place at all) from the tongue. Each jacket has a little ridge on each side. When you slide the new jacket on, the ridges should point toward the front and rear of the organ. If in doubt, take off another key to see what a properly installed jacket looks like. Slide the new jacket on. The jacket will stretch a bit going on as it's a tight fit, but it will go on. 4. Replace the key. You do this by carefully fitting the far end of the key back into the metal housing. The underside of the key has some plastic nubs and such that must fit into the keyguide just in front of the metal housing. Watch out that you don't break the key by just jamming it into the housing. This is actually pretty simple, just be careful. 5. Repeat for each loose key, then replace the top. - 3.2.2 How do I adjust the internal pots on the XB-2? Mark Longo (longo@swanky.zk3.dec.com) Posted to the Hammond Mailing List on 22 March 95 Things have been quiet on the list, so here's something for the XB2 owners among us to chew on. I finally got around to experimenting with the XB2's internal trim pots. You can use these pots to adjust the XB2's overall output level, overdrive level and extent, and to modify the vibrato/chorus depth slightly. There aren't any internal adjustments that let you alter the XB2's basic tone, though boosting the XB2's output signal to your amplifier may yield a somewhat fatter tone due to natural harmonic distortion realized in the amplifier's pre-amp section. Below I describe what I discovered by experimenting with different pot settings on my XB2. I should mention that my XB2 was made in the first year of manufacture. It's possible that if you look inside your XB2 you'll see something different than what I describe below, or that adjustments to your own XB2 pots will have slightly different results. Obviously I accept no responsibility for the accuracy of my below comments as applied to an XB2 other than my own. Please use caution and common sense. If you're the sort of person who likes to tinker with electronics and you're not afraid of tweaking with your XB2 a bit, you'll probably find that these adjustments allow you to tailor the performance of your XB2 a little and you'll have fun monkeying with it in the bargain. On the other hand, if you're the sort of person that heeds warnings like: DO NOT REMOVE THE BACK PANEL - NO USER SERVICABLE PARTS INSIDE !! DANGER OF ELECTRIC SHOCK !! Refer repair work to qualified personel. ...then you may be better off leaving your XB2 alone. After all, they sound pretty cool as they come from the factory and since you have to make the below adjustments while the XB2's power is turned on, there IS some danger of electric shock. Also, if you drop something on the circuit board(s) that conducts electricity (like, say, a screw driver), you might short something out resulting in a costly repair bill and your doing without your XB2 for a while. WARNING: BEFORE ADJUSTING ANYTHING: Write down the factory-set position of ALL the trim pots! Be forwarned, Hammond-Suzuki will not take kindly to your call asking what the factory settings are since you forgot how yours were originally set yours and screwed them all up. If you get lost, send me e-mail and I'll send you my default settings, but they may be different for you if your circuit board is of a different revision than mine. Therefore, take a few seconds to write your settings down and avoid feeling stupid later. Making Adjustments: The XB2 has several small potentiometers (pots) on the upper circuit board on the right side of the organ, visible when you remove the cover. My XB2 pots have a white plastic phillips type adjustment screw head about 1/4 inch in diameter. The name of each pot adjustment is screened onto the circuit board in English somwhere near its mounting point. I noticed an unlabeled pot on the lower circuit board near the AC power recepatacle on the left side of the organ. This may be an AC line level adjustment (high voltage) SO DON'T MESS WITH IT. Some of the pots increase their assigned effect when turned clockwise, others counter-clockwise. One presumes this is because some effects increase with impedance while others decrease. Just monkey around with the pots and you'll see which way to turn them. I tried turning each pot to its full deflection in both the clockwise and counter-clockwise directions and nothing terrible happenned (my XB-2 didn't blow up!). I did adjust the pots one at a time so at no time were they all max'd at once, though I personally doubt that max'ing everything would harm the electronics. You use the XB2's left output jack only when plugging into a mono amplifier or mixer. This means that when nothing is plugged into the right output, a summation of the right and left channels goes to the left output. Many of the pots in the XB2 control left and right channels separately. When listening to mono output (left output only), tweaking a RIGHT channel adjustment affects the summed output as much as tweaking a LEFT channel adjustment. R GAIN / L GAIN These pots control the "clean" output of the organ, that is, the output of tone generation exclusive of the overdrive circuit. You can boost the output to the point that you can badly overdrive a mixer's line input resulting in some very ugly distortion. At first I thought this was distortion in the output section of the XB2, but I max'd these pots and fed the signal to my Leslie and heard far less distortion than with a line mixer, though some distortion is still present. Note that it may be possisble to dramatically increase the amplified volume of your XB2 by adjusting these pots and thereby feeding your amplifier a MUCH hotter signal. I have found this to be very useful since my Leslie needs a little help to output enough volume in some live settings. Be careful though, excessive output may cause your amplifier to distort in ways that neither you nor your amplifier like. I believe that the XB2's come from the factory with the gain pots set to a fairly low output value. OD MIN / OD MAX These pots determine the amount of distortion added to the output signal by the overdrive unit. OD MIN sets the amount of distortion applied to the output signal when the distortion wheel (modulation wheel on the organ control panel) is at its full backward deflection. OD MAX sets the amount distortion applied when the wheel is at its full forward deflection. In theory, setting OD MIN to its lowest value and OD MAX to its highest would supply the widest range of distortion available. R OD GAIN / L OD GAIN These pots appear to control the overall boost that can be applied to the output signal by the overdrive circuit. These pots can be used to boost the level of the overdrive circuit's output, making the organ's output signal hotter (and possibly overdriving the amp/mixer/tape you're connected to). Acting in concert with the OD MIN / OD MAX adjustments, these pots can be used to tailor the effects of the overdrive circuit. Use caution and judgement, it's theoretically possible to damage the input circuit of some types of gear by feeding it too hot a signal from your organ. If you hear lots of distortion with the OD wheel at the minimum position, you've probably overdone it. NOTE: I haven't messed much with the OD pots. It would seem possible that by setting a modest value on the OD GAIN pots you'd be able to add distortion with the mod wheel but NOT volume. Many people have complained that increasing the XB2 overdrive level using the mod wheel adds way too much volume to the output signal. If anyone tries this, please let us know what you find. EXP MIN / EXP MAX The settings of these pots control the effect of the full backward and forward deflections of the Hammond expression pedal. The EXP MIN pot can be set so that full backward pedal deflection still allows a healthy output level. Conversely, the EXP MAX pot can be used to limit organ output when the pedal is at it's full forward deflection. Note that the EXP MIN pot can NOT be set to silence the organ at full backward pedal deflection. Apparently the expression pedal is a simple voltage regulator. A control voltage is sent to the pedal, the pedal returns a voltage level that is the same or lower depending on whether the pedal is deflected forward or backward. This is distinct from guitar-type volume pedals which modulate the amplitude of an audio signal. The EXP MIN and EXP MAX pots appear to set the lower and upper limits on the voltage returned from the expression pedal. VIB2 / VIB3 There have been many complaints voiced on the Hammond mailing list that the vibrato and chorus on the XB2 are weak when compared against the same effects on a B3. The VIB2 and VIB3 pots can be used improve this slightly, but basically, you just have to live with the XB2 vibrato sound. These two pots adjust the depth of V2 and V3 and C1 and C2 respectively. Apparently there is no way to adjust the depth of V1 or C3. Max'ing the VIB3 pot will cause C2 to have the same depth as C3, but with a very tiny bit more low frequency content. You have to listen hard in a quiet setting to hear the difference. LES This adjustment supposedly effects the sound of the XB2's built in Leslie simulation, though personally I can't hear that it does much of anything. It seems to change the "beating" in the highs coming through the Leslie effect a little, but the change is VERY subtle and you have to listen carefully in a quiet setting to hear any difference. In any case, I don't find it useful for audible adjustment. Mark ======================================================================= Mark Longo Digital Equipment Corp. longo@zk3.dec.com Nashua, NH 87 8300 020 - 3.2.3 How to EQ the XB-2. Mark Longo (longo@swanky.zk3.dec.com) Posted to the Hammond Mailing List on 05/30/95 ---------------------------------------------------------------------------- Hi folks, Having just finished three gigs this weekend using my XB-2 through an equalizer and into my Leslie 302, I can tell you that for me, EQ'ing the XB-2 is a BIG plus. Using the EQ I'm able to remove most all of the XB-2's shrillness and substantially fatten up the low end and low mids, which gets me much closer to my favorite B3 tone. The details follow. - Summary If you have a few bucks to spend on a decent graphic EQ, do it. You'll be surprised at how much you can change the sound of your XB-2. If you're one of us folks who thinks the XB-2 tone could be improved, you'll be surprised at just how good you can make it sound and you'll have lots of fun doing it. A 15-band unit is sufficient, though a 31-band unit is a little more fun and has advantages for the very finicky ear. A constant-Q unit is highly recommended, and a 120Hz filter is a big plus. Also, ± 15db boost/cut unit is more versatile than a 12db unit, but isn't necessarily needed. - The Equalizer I bought a high quality pre-owned EQ through the Internet ($200 US). It is a dbx 1531X, which is switchable for 31 bands mono (1/3 octave/band), or two 15-band ranges (2/3 octave/band) for stereo. This EQ has constant-Q circuitry, which means that the band width effected by each slider is constant whether the slider is at full boost, full cut, or anywhere in between. Some cheaper EQ's don't have constant-Q, so when you move a slider the effected band width becomes greater as the slider moves closer to extremes, thereby effecting neighboring frequencies more and more as the slider approaches full boost/cut. This makes it difficult or impossible to boost/cut a narrow frequency range (such as the top part of the last octave on the keyboard, for example) without effecting many neighboring frequencies. I strongly recommend getting a constant-Q EQ. Constant-Q is not always mentioned in advertisements so when considering an EQ, call the manufacturer or look at the manual to be sure it has constant-Q circuitry. I believe all the Rane EQs are constant-Q, as are most good grade units. I wanted to get a 1/3 octave unit (31 bands) so I could cut most highs without cutting the key click and to do that I needed a slider somewhere near 7KHz. The 2/3 octave units (15 bands) don't have a slider near 7Khz as each slider on those units covers a wider frequency range. BUT, it turns out that the XB-2 is capable of delivering a loud enough click (especially with V2.0 OS) that I found I could deeply cut the high frequency overtones and still have plenty of click coming through. With this in mind it would should be sufficient to use a good 15 band unit, which is a somewhat cheaper than the 31-band units, though nearly not by half. The dbx 1531X has boost or cut maximums switchable between ± 7.5db and 15db. The 7.5db range could be useful when making subtle changes to a mix or vocal tones, but for the XB-2 the ± 7.5db wasn't enough, so I use only ± 15db. A side note, many EQs offer ± 12db cut/boost, but I suggest trying to find one with ± 15db. I found that 15db of boost causes a bit of audible distortion with my performance rig. I like this because it lets me control which frequencies growl and which ones are clean. On my rig I set the EQ sliders so that the lows in the 500Hz region have a little more growl than the high, which I like clean. Your mileage may vary since you likely have different equipment, but in MY case, I don't get distortion till I move the sliders PAST the +12db point, so I'm glad to have the versatility of ± 15db. - Signal Path I positioned the EQ after the XB-2 in the signal path, using the 1/4" line out jack from the XB-2 (left output for mono) and then into the EQ, then out from the EQ into my Leslie 302's 1/4" input. I could not use the 11-pin Leslie cable from my XB-2 because that cable won't plug into the EQ (obviously) and my Leslie 302 has no effects loop. Al Goff does not recommend using the XB-2 effects loop for EQ because more tone shaping takes place in the XB-2 internal signal path downstream from the effects loop. Because I'm forced to use the 1/4" XB-2 output, I can not control Leslie speed using the XB-2 Leslie tab switch or a foot switch plugged into the XB-2, as is possible when using the 11-pin cable with my Leslie 302. Also, since devices in the XB-2 effects loop DO NOT EFFECT the XB-2's 1/4" outputs, I can't use the XB-2 effects loop when using the 1/4" output to the EQ. You could place an external device such as a chorus stomp box downstream from the XB-2, but these devices are designed to accept the low voltage levels generated by guitar pickups and will likely be badly overdriven by the XB-2's hotter output levels. - 120 Hz Filtering My EQ has a 120hz filter which for me is a BIG help. The XB-2 has a 120Hz buzz (at least mine does) which you only hear when you depress a key. It's not normally very noticable (unless you use headphones) but my EQ boost of the lows made it jump out. But the dbx 1531X has a button to take out the 120Hz frequency only, which removes the buzz almost completely (mmm-mmm good). There is also a slider at 120Hz, and I found that cutting the 120Hz range with the slider removes the buzz, but it also reduces the bass response of the organ noticably. Using the 120Hz cut button removes the buzz but doesn't effect the organ's tone. - Chorus Many of us have complained lots about the XB-2 chorus sounding whimpy. Using the EQ can improve the chorus sound surprisingly. Don't get me wrong, it still doesn't sound like that crunchy B-3 chorus so many of us like, but it is definitely improved. I'm not sure, but I suspect that cutting highs (ie: above 6Khz) is responsible for the improvement. - Tone Settings I find that the EQ is effective in dramatically altering the XB-2 tone in a very wide variety of ways. The tonal changes you make are obviously a matter of your own taste. I use the EQ to try to more closely emulate a real B-3. The EQ settings I use to do this are specific to my own perfomance rig, the room I'm playing in, my own personal taste, how many drinks I've had, etc., etc., etc. Your settings would (and probably should!) vary, maybe a lot. That said, it's a little silly to mention specific settings, but I'll tell ya how I set my EQ up this past weekend anyway. I like Jimmy Smith's tone on his recent albums, which I'd describe as sweet and a bit churchy, yet beefy in the lows and especially in the lower mid-range. The EQ lets me get this tone surprisingly easily. I use full cut (-15db) in all frequencies above 6KHz, with about half cut between 4KHz and 6KHz. I set 1KHz to 4Khz somewhere near flat, with gradually increasing boost from 1KHz down through the bass/treble rotor cut off point (800Hz). As I get into the bass rotor range I increase the boost even more. And I've been adding a little growl by boosting to nearly full throw (+15db) in the 400-600Hz neighborhood. If you try this, let me know what you find. Have fun, Mark ======================================================================= Mark Longo Digital Equipment Corp. longo@zk3.dec.com Nashua, NH 87 8300 020 3.3 How do I connect this Hammond to that Leslie? Ted Thompson has developed a guide on just this subject. Check out his Leslie Hookup Page for more information. ------------------------------------------------------------------------- 4.0 Contributors to this FAQ This FAQ was compiled from correspondence that occurred on the Hammond mailing list and from sources listed in the Bibliography. Many contributions were made. At least the following people made significant contributions. Anyone that feels they have been wrongly omitted (or wrongly accused) from the following please speak up: * 71370.3023@compuserve.com (Tom Tuson) * ap748@freenet.carleton.ca (Mike Sues) * bevis@apg.ph.ucl.ac.uk (Bevis Peters) * blaumills@healey.com.au (Steve Blau) * bobs@hopf.dnai.com (Bob Schleicher) * buzzfret@aol.com (Joe Rut) * bwahler@tiac.net (Bruce Wahler) * cspence@nelson.env.gov.bc.ca (Colin Spence) * dave.amels@sfnet.com (Dave Amels) * davemcnaly@aol.com (Dave McNally) * gacki@sax.sax.de (Malte Rogacki) * genpla@flashnet.it (Marco Montaruli) * goffprof@aol.com (Al Goff) * groove@tiac.net (Gilles Bacon) * jjp@mink.mt.att.com (John) * jmee@silver.ucs.indiana.edu (Jeffery Mee) * longo@zk3.dec.com (Mark Longo) * pomanti@inforamp.net (Louis Pomanti) * potomactom@aol.com (Tom Dercola) * random@well.com (Ben "Jacobs") * russ@seismo.demon.co.uk (Russ Evans) * salazz@aol.com (Sal Azz) * slimtwo@aol.com (Chuck Cordier) * tthompsn@mail.bcpl.lib.md.us (Ted Thompson) * u31385@uic.edu (Allen Sears) * wfrb@miworld1.miworld.net (Robert May) * John.Fisher@m.cc.utah.edu (John Fisher) ------------------------------------------------------------------------- Hammond mailing list charter (brief): This is to announce an informal internet mailing list for and by people interested in Hammond organs (old and new) and related issues. The purpose of the list is to provide a forum for sharing general questions and answers, technical information, equipment reviews, etc., regarding the Hammond organ, it's clones, accessories, etc. To subscribe to Hammond, send the following in the body (not the subject line) of an email message to Majordomo@zk3.dec.com: subscribe Hammond This will subscribe the account from which you send the message to the Hammond list. To find out more about the automated server and the commands it understands, send the following command to "Majordomo@zk3.dec.com": help ----------------------------------------------------------------- - Disclaimer and Copyright - Copyright (c) 1996, Bradley Baker Permission is granted for this material to be freely used and distributed, provided the source is acknowledged. No warranty of any kind is provided. You use this material at your own risk. ------------------------------------------------------------------------- Appendix A - Hammond and Leslie model list. Hammonds Model A Production Years: June 1935 to October 1938 (about 2500 made) Cabinet Size: 48.5x47x38.5 (WHD, inches), 359lbs with bench & pedalboard Finish: American Walnut Manuals: Swell and Great, 61 keys each. Pedals: 25-note radiating and detachable. Controls: 9 presets and 2 sets of 9 drawbars for each manual. 2 adjustable drawbars (16' and 8') for pedals. Amp/Output: Internal preamp only Features: One tone generator, one adjustable tremulant affecting both manuals and pedals equally. Same cabinet as B models, but not as deep. Picture: Model A ---------------------------------------------------------------------------- Model A-100, A-101, A-102 Production Years: 1959 to 1965 Synopsis: Home style console, same as C-3 but with a built-in sound system including reverb control. Cabinet has no flip top covering the manuals. Cabinet Size: 47.5x45.5x43 (WHD, inches), 391lbs with bench & pedalboard. Finish: A-100, Red mahogany, light Walnut, Oak A-101, Brown mahogany, gray mahogany, black, straight legs at front. A-102, Light cherry, dark cherry (had Queen Anne Legs) Manuals: Swell and Great, 61 keys each. Pedals: 25-note, radiating and detachable. Amp/Output: 27 Watts - one main, one reverb amp, 3-12" speakers. Picture: A100 dark walnut, A100 Light Walnut ---------------------------------------------------------------------------- Model A-105 Production Years: 1962 to 1975 Synopsis: Church style console, same as C-3 but with built-in sound system including reverb control. Cabinet Size: Same as Model C. Finish: Light oak - dark walnut. Manuals: Swell and Great, 61 keys each. Pedals: 25-note radiating and detachable. Amp/Output: 27 Watts - one main, one reverb amp, 3-12" speakers. ---------------------------------------------------------------------------- Model AB Production Years: June 1935 to October 1938 (about 4000 made) Synopsis: Same as Model A but enclosed in larger woodwork (a B cabinet). Cabinet Size: With pedal keyboard and bench: 48.75x46x49.5 (WHD, inches) Finish: American Walnut Manuals: Swell and Great, 61 keys each. Pedals: 25-note, radiating and detachable. Controls: 9 presets and 2 sets of 9 drawbars for each manual. 2 adjustable drawbars (16' and 8') for pedals. Amp/Output: Internal preamp. Features: One tone generator, one adjustable tremulant affecting both manuals and pedals equally. ---------------------------------------------------------------------------- Model B-2 Production Years: Dec 1949 to Dec 1954 Synopsis: In a B-3 style case, the B-2 is equipped with Hammond vibrato providing three degrees of true vibrato and chorus. The vibrato/chorus is selectable for each manual independently. It is not equipped with percussion, but does provide an additonal control for overall "NORMAL or "SOFT" volume. Finish: Walnut Manuals: Swell and great, 61 playing keys each. Pedals: 25-note radiating detachable pedalboard. Controls: 9 preset keys and 2 sets of 9 adjustable harmonic drawbars for each manual. 2 adjustable (16' and 8') for pedals. Amp/Output: Internal preamp. Features: One expression pedal controlling swell, great an pedals. ---------------------------------------------------------------------------- Model B-3 Production Years: Jan 1955 to 1974 Synopsis: The archetype, it is equipped with Hammond chorus/vibrato providing 3 levels of chorus and vibrato, selectable for each manual independently. It is equipped with Hammond Percussion. The percussion has four controls: ON/OFF, Volume: NORMAL/SOFT, Decay: SLOW/FAST, Harmonic: 2nd/3rd. Cabinet Size: With pedal keyboard and bench: 48.75x46x49.5 (WHD, inches), 425lbs with bench and pedalboard. Finish: Walnut/Cherry Manuals: Swell and great, 61 playing keys each. Pedals: 25-note radiating detachable pedalboard. Controls: 9 preset keys and 2 sets of 9 adjustable harmonic drawbars for each manual. 2 adjustable (16' and 8') for pedals. Amp/Output: Internal preamp. Features: One expression pedal controlling swell, great an pedals. Picture: B3, Lime Oak B3 (from Danny Callebaut ) ---------------------------------------------------------------------------- Model B-A Production Years: Jan 1938 to Dec 1938 (about 200 made) Synopsis: Tonally and electrically similar to the Model BC console. In addition to normal playing, it could also be played with rolls similar to a player piano. Cabinet Size: Floor dimensions similar to the BC with a somewhat higher back section to accomodate pneumatic action. 425 lbs, with pedals and bench. Manuals: Swell and Great, 61 keys each. Pedals: 25-note radiating, detachable. ---------------------------------------------------------------------------- Model BC Production Years: Dec 1936 to Nov 1942 (about 13000 made) Synopsis: Same as model AB but with one additonal generator and appropriate switching to create chorus effect. Finish: Walnut Manuals: Swell and Great, 61 keys each. Pedals: 25-note radiating, detachable. Amp/Output: Internal Features: Equipped with a chorus generator. The BC is not equipped with complex tone wheels, thus the bottom octave of the tone generator is wired to the manuals. Picture: BC in mahogany ---------------------------------------------------------------------------- Model BCV Production Years: Dec 1949 to Dec 1954 Synopsis: Same as Model BC but has Hammond vibrato and vibrato chorus. None produced. Converted by vibrato kit added after 1945. ---------------------------------------------------------------------------- Model BV Production Years: Apr 1946 to Dec 1949 Synopsis: In a B-3 style case, the BV is equipped with Hammond vibrato providing three degrees of true vibrato and "OFF" position, effective only on both manuals simultaneously, together with vibrato chorus usable in three different degrees and "OFF". It is not equipped with percussion. Finish: Walnut Manuals: Great and Swell, 61 keys each, 25 radiating pedals. Controls: 9 presets and 2 sets of 9 drawbars for each manual. 2 adjustable drawbars (16' and 8') for pedals. Amp/Output: Internal preamp. Features: The vibrato switch is similar in appearance, function, and placement as on the B-3. It is a six-position rotary switch whose functions are V1-OFF-V2-OFF-V3-OFF. Chorus is selected by a toggle mounted on the stationary part of the music rack. ---------------------------------------------------------------------------- Model C Production Years: Sep 1939 to Jun 1942 Synopsis: Same as model AB but with different style (C cabinet) woodwork. Cabinet has closed back and sides, extending to the floor. Cabinet Size: 48.75x47x46 (WHD, inches) Finish: Walnut Manuals: Swell and Great, 61 keys each. Pedals: 25-note radiating, detachable. Controls: 9 presets and 2 sets of 9 drawbars for each manual. 2 adjustable drawbars (16' and 8') for pedals. Amp/Output: Internal preamp. ---------------------------------------------------------------------------- Model C-2 Production Years: Dec 1949 to Dec 1954 Synopsis: Same as Model CV but with additional controls which provide vibrator on either or both manuals. Also addtional controls for "NORMAL" or "SOFT" overall volume. Finish: Walnut Manuals: Swell and Great, 61 keys each. Pedals: 25-note radiating, detchable. Controls: 9 presets and 2 sets of 9 drawbars for each manual. 2 adjustable drawbars (16' and 8') for pedals. Amp/Output: Internal preamp only. ---------------------------------------------------------------------------- Model C-2G, C-3G, HR-40G (tone cabinet) Production Years: C-2G June 52 to Mar 53, C-3G Jan 55 to TBD. Synopsis: These consoles are identical in appearance to the C-2 and C-3 except that a monitor speaker is located on the lower left hand side. The preamplifier in the C-2G is designed to operate the monitor speaker. In the C-3G the preamplifier is the same as in the C-3. A small auxiliary amplifier drives the monitor speaker. In both Models, B+ voltage from the tone cabinet is required to make the monitor speaker operative. The HR-40G is identical to the HR-40 except that it is equipped with a standard 6 conductor cable which must be used in conjunction with the C-2G console. Manuals: Swell and Great, 61 keys each. Pedals: 25-note radiating, detachable. Controls: 9 presets and 2 sets of 9 drawbars for each manual. 2 adjustable drawbars (16' and 8') for pedals. ---------------------------------------------------------------------------- Model C-3 Production Years: Jan 1955 to 1974 Synopsis: Take a B-3's guts and put it in the C type church model case. Cabinet Size: With pedal keyboard and bench: 48.75x46x49.5 (WHD, inches), 450lbs with bench and pedalboard Finish: Walnut/Oak and speciality finishes. Later version in both finishes less quatrefoil. US and UK cases are slightly different. Manuals: Swell and Great, 61 keys each. Pedals: 25-note radiating, detachable. Controls: 9 presets and 2 sets of 9 drawbars for each manual. 2 adjustable drawbars (16' and 8') for pedals. Amp/Output: Internal preamp only. Picture: C3, C3 in white ---------------------------------------------------------------------------- Model CV Production Years: Sep 1945 to Dec 1949 Synopsis: Take a BV's guts and put them in a C type church model case. Finish: Walnut Manuals: Swell and Great, 61 keys each. Pedals: 25-note radiating, detachable. Controls: 9 presets and 2 sets of 9 drawbars for each manual. 2 adjustable drawbars (16' and 8') for pedals. Amp/Output: Internal preamp only. ---------------------------------------------------------------------------- Model D Production Years: Jun 1939 to Nov 1942 Synopsis: Same as Model C but with additional tone generator and appropriate switching to create chorus effect, as for Model BC Finish: Walnut. Manuals: Swell and Great, 61 keys each. Pedals: 25-note radiating, detachable. Controls: 9 presets and 2 sets of 9 drawbars for each manual. 2 adjustable drawbars (16' and 8') for pedals. Amp/Output: Internal preamp only. Features: Lower octave of tone generator is wired to the manuals. ---------------------------------------------------------------------------- Model D-100 Production Years: 1963 to 1969 Synopsis: Same as RT-3 but with built-in sound system including reverb control (in built PR40). Cabinet Size: Same as RT. Finish: D-152, Walnut. D-155, Oak. Amp/Output: 50 Watts, 3 amplifiers, 2-12" and 2-15" speakers. ---------------------------------------------------------------------------- Model DV Synopsis: Same as Model D but with Hammond vibrato, including vibrato chorus. See BCV. None produced, kit added in the field. Cabinet Size: Approximately 450 pounds, with bench and pedals. Manuals: Swell and great, 61 playing keys each. 25 note radiating detachable pedal keyboard. Controls: 9 preset keys and 2 sets of 9 adjustable harmonic drawbars for each manual; 2 adjustable drawbards (16' and 8') for pedals. One expression pedal controlling swell, great, and pedals. ---------------------------------------------------------------------------- Model E Production Years: Jul 1937 to Jul 1942 Cabinet Size: 57x47-7/8x47-5/8 (WHD, inches) with pedal keyboard. Approximately 579lbs, with bench and pedals. Finish: Walnut Manuals: Swell and great, 61 playing keys each. 32-note concave radiating detachable pedal board, built to AGO specifications. Controls: 9 preset buttons and 2 sets of 9 adjustable harmonic drawbars for each manual: For pedals - 4 numbered and labeled toe pistons, 2 adjustable drawbars (16' and 8'), and great to pedal 8' coupler. 2 expression pedals, one for swell and one for great and pedals. Visual position indicator of sliding rod type. Two expression pedals, one for swell and one for great and pedals. Features: Separate adjustable tremulants for swell and great manuals. Standard main and chorus generator units; "ON" and "OFF" switch for chorus. ---------------------------------------------------------------------------- Model E-100 Production Years: Jun 1965 to 1969 Cabinet Size: 48x26x48 (WHD, inches without bench), 410lbs with bench and pedals. Finish: Walnut, Mahogany Manuals: Swell and great, 61 playing keys each. 25-note concave radiating detachable pedal board. Controls: One set of drawbars for each manual, 27 control tablets, 5 percussion voices, brush effect and cymbal, harp sustain and 'vibrato celeste'. Features: 76 tonewheel generator, photocell Expression pedal, straight and reverb tube amps, some solid state for features. E100 - pre-voiced percussions, Harp Sustain and manual rhythm (Cymbal and Brush) E200 - Institutional version of E-100 with locking top, presets and stops adapted for liturgical music, no rhythm, fewer percussions E300 - Stripped-down version of E-100, no Harp Sustain, no rhythm Styles: E-111 Traditional in Mahogany E-112 Traditional in Walnut E-133 French Provincial in Cherry E-143 Early American in Cherry E-182 Italian Provincial in Walnut E-262 Institutional in Walnut E-265 Institutional in Oak E-311 Traditional in Mahogany E-312 Traditional in Walnut E-333 French Provincial in Cherry E-343 Early American in Cherry E-382 Italian Provincial in Walnut Picture: E100 ---------------------------------------------------------------------------- Model G Production Years: Jun 1941 to Nov 1944 Synopsis: [From the service manual...] "The Model G consoles and tone cabinets were built for the Government, and now will be found in use throughout the United States and foreign contries in chapels of all services, Officers Clubs, or recreation service buildings. The console is identical to the Model D except for the decorative woodwork and provision for detchable handles. The tone cabinet (Model G-40) contains two amplifiers and four speaker mounted in a horizontal row and is electically similar to Model B-40 tone cabinets, but has a reverberation control unit." Similar to C2-G, C3-G. ---------------------------------------------------------------------------- G100 Synopsis: Large church style organ with AGO 32 note pedalboard and stops instead of drawbars. Picture: G100 ---------------------------------------------------------------------------- Model H-100 Series Production Years: 1965 through 1974 Cabinet Size: 50 1/2" wide, 26 1/2" deep, 50" high with music rack, 445 lbs with pedals and bench. Finish: H-111 Traditional styling in Mahogany H-112 Traditional styling in Walnut H-133 French Provincial in Cherry H-143 Early American in Cherry H-182 Italian Provincial in Walnut H-195 Mediterrean in Oak H-262 Institutional Model with locking roll top...Walnut, some preset and other differences. H-324 Comtempory in Pecan with built-in Auto-Rhythm H-382 Italian Provincial in Walnut with built-in Auto-Rhythm H-395 Mediterranean in Oak with built-in Auto-Rhythm - HX100 like H100 in X66 cabinet Manuals: Two 61 note manuals with overhanging keys. 25 note detachable pedalboard. Controls: One expression pedal effecting both manuals and pedals...tone compensated photo-cell type. Kick switch mounted to pedal cancels vibrato "immediately". 9 presets and 2 adjust keys for each manual. 2 sets of 11 drawbars for upper manual, 2 sets of 10 drawbars for lower manual. 4 pedal drawbars. 28 tabs for percussion, vibrato, sustain, reverb, etc. Amp/Output: Stereo amplification plus a bass channel. Two 8" speakers and one 15" speaker. Mixture of solid-state and tube circuitry. Features: 96 tonewheel generator with self-starting synchronous motor. Tones go up to a high B (around 8,000Hz), then foldback. Foldback note: 16' goes all the way down, the higher harmonic in the mixture drawbars does not foldback. Reiteration, percussion touch control, harp sustain, string bass, lots of vibrato/chorus controls, reverb controls. ---------------------------------------------------------------------------- Model L-100 Production Years: 1967 to 1972 Synopsis: Spinet Model with mechanical tonewheel generator and non-scanner vibrato. Cabinet Size: 43.5x23x44.5 (WDH, inches) Finish: L-101 - Traditional, Mahogany. L-102 - Contemporary, Walnut L-103 - French Provincial, Cherry L-111 - Traditional, Mahogany L-112 - Contemporary, Mahogany L-122 - Contemporary, Walnut L-133 - French Provincial, Cherry L-143 - French Provincial, Pecan - L16? had folding lid - L100P portable version Manuals: two 44-note offset manuals with a 13 note pedalboard. 9 drawbars upper manual, 7 for lower. Amp/Output: Built in amp and speakers. Features: Two levels of vibrato and chorus, small selection of preset tabs, reverb with bright/soft settings. Percussion and chorus adjustable inside the cabinet. Picture: L100 (with 125 Leslie) ---------------------------------------------------------------------------- Model J-100 Synopsis: Non-tonewheel Spinet Model, transistor design, no drawbars. ---------------------------------------------------------------------------- Model M-100 Production Years: 1961 to 1968 Synopsis: Home style spinet with internal amplifier and speakers. Cabinet Size: 113x62x93 (WDH, cm) Finish: M-100: Traditional style, Mahogany M-101: Contemporary, Walnut M-102: French Provincial, Cherry M-111: Contemporary, Mahogany M-143: French Provincial, Pecan M-162: Contemporary, Maple M-165: Tudor, Maple Manuals: Two 44-key offset manuals, 13 pedals. Controls: 9 upper manual drawbars, 8 lower manual drawbars, 1 pedal drawbar. Tablets include Percussion (2nd, 3rd, fast decay, percussion soft), Vibrato (small, chorus, celete1, celeste2). Presets: 5 lower, 5 upper, 2 reverb, 1 volume. Amp/Output: Internal power amplifier, main 2-12", reverb 1-8" speakers. Features: Mechanical tone generator with scanner vibrato, no harmonic foldback. M100A had extra percussion features and pedal sustain. Picture: M102A ---------------------------------------------------------------------------- Model M Production Years: 1948 to 1951 Synopsis: Home style spinet with an internal amplifier and speaker. Mechanical tonewheel generator. Drawbars-only organ, with no presets of any kind. Cabinet Size: Mahogany Manuals: Two 44-key offset manuals. 12 pedals. Controls: 9 drawbars upper manual, 8 drawbars lower manual, 1 pedal drawbars. No percussion, simple vibrato. Amp/Output: 11 Watts, 1-12" speaker. Features: Mechanical tone generator and vibrato scanner, no harmonic foldback. Pedal sustain feature, with toe-switch mounted on the expression pedal. ---------------------------------------------------------------------------- Model M-2 Production Years: 1951 to 1955 Synopsis: Home style spinet with an internal amplifier and speaker. Mechanical tonewheel generator. Drawbars-only organ, with no presets of any kind. Cabinet Size: Mahogany Manuals: Two 44-key offset manuals. 12 pedals. Controls: 9 drawbars upper manual, 8 drawbars lower manual, 1 pedal drawbars. Other controls on rocker switches. Vibrato has four: upper (on/off), lower (on/off), select (chorus/vibrato), vibrato depth. Amp/Output: 11 Watts, 1-12" speaker. Features: Mechanical tone generator and vibrato scanner, no harmonic foldback. Pedal sustain feature, with toe-switch mounted on the expression pedal. ---------------------------------------------------------------------------- Model M-3 Production Years: 1955 to 1964 Synopsis: Home style spinet with an internal amplifier and speaker. Mechanical tonewheel generator. Drawbars-only organ, with no presets of any kind. Cabinet Size: Mahogany Manuals: Two 44-key offset manuals. 12 pedals. Controls: 9 drawbars upper manual, 8 drawbars lower manual, 1 pedal drawbars. Other controls on rocker switches. Percussion has four: select (on/off), volume (soft/normal), harmonic (3rd/2nd), decay (slow/fast). Vibrato has four: upper (on/off), lower (on/off), select (chorus/vibrato), vibrato depth. Amp/Output: 11 Watts, 1-12" speaker. Features: Mechanical tone generator and vibrato scanner, no harmonic foldback. Pedal sustain feature, with toe-switch mounted on the expression pedal. ---------------------------------------------------------------------------- Model Porta-B Cabinet Size: Lower - 42Wx20Dx10H (inches), Upper - 42Wx24Dx12H (inches), Assembled - 35H (inches). Amp/Output: 15 Watts - two 6" round, two 7"x5" oval speakers, tone cabinet conector. Features: Mechanical tone wheel generator, two 44 note keyboards, 9 drawbars for upper keyboard 7 drawbars for lower keyboard,one 16' for bass, lower keyboard, 13 note pedalboard, 12 rocker switches, touch response percussion. ---------------------------------------------------------------------------- Model RT Production Years: Jul 1949 to Sep 1949 Synopsis: Equipped with Hammond vibrato providing three degrees of true vibrato and an "OFF" position, effective simultaneously on both manuals, together with vibrator chorus usable in three different degrees and "OFF". Cabinet Size: 57x46-7/8x47-5/8 (WHD, inches) Finish: Walnut. Manuals: Swell and Great, 61 keys each. Pedals: 9 preset keys and 2 sets of 9 adjustable harmonic drawbars for each manual. For pedals, two adjustable drawbars (16' and 8'). One expression pedal controlling swell, great and pedals. Features: Equipped with Hammond vibrato providing three degrees of true vibrato and an "OFF" position, effective simultaneously on both manuals, together with vibrator chorus usable in three different degrees and "OFF". ---------------------------------------------------------------------------- Model RT-2 Production Years: Nov 1949 to Jan 1955 Synopsis: Same as model RT but with controls which provide vibrato on either or both manuals, also additional control for "NORMAL" or "SOFT" overall volume. Finish: Walnut. Manuals: Swell and Great, 61 keys each. Pedals: 32-note radiating, detachable. Controls: 9 preset keys and 2 sets of 9 adjustable harmonic drawbars for each manual. For pedals, two adjustable drawbars (16' and 8'). One expression pedal controlling swell, great and pedals. Amp/Output: Internal preamp only. ---------------------------------------------------------------------------- Model RT-3 Production Years: Jan 1955 to 1973 Synopsis: Same as RT-2 but with Hammond percussion feature. Finish: Walnut/Oak Manuals: Swell and great, 61 playing keys each. Pedals: 32-note detachable pedal keyboard. Controls: 9 preset keys and 2 sets of 9 adjustable harmonic drawbars for each manual. For pedals, two adjustable drawbars (16' and 8'). One expression pedal controlling swell, great and pedals. Features: Pedal solo system has separate volume control, providing the following solo effects: 32-foot bourdon, 32-foot bombarde, 16 foot solo, 8-foot solo, 4-foot solo, 2- and 1-foot solo, also tablets for mute control and pedal "ON". Weighs 525lbs. Picture: RT3 (black and white) ---------------------------------------------------------------------------- S6 Chord Organ Synopsis: Autochording organ. Manuals: One 37 note manual. Features: Three sections: Solo unit, Chord unit and Bass unit with seperate volume controls. Solo unit is monophonic and driven from the keyboard, the chord unit is driven from tabs (also driving the bass). Very difficult to keep in tune. Two internal speakers. ---------------------------------------------------------------------------- Model X-66 Production Years: May 1965 to 1972 Synopsis: Console organ with top octave tonewheel generator. Manuals: Two 61 key manuals, 25 pedals. Controls: 4 drawbar sets, 18 changeable presets. Features: 49 note arpeggiator, stereo reverb, attack perdussion, sustain percussion, special X-66 tone cabinet (can be connected to 122 and similar through Leslie kit 8066). Non-traditional Hammond appearance, bench and organ supported by steel columns. Picture: X66 ---------------------------------------------------------------------------- Model X-77 Production Years: 1967 to 1975 Manuals: Swell and Great, 61 keys each. Pedals: 25-note radiating, detachable. Controls: Eleven lower, ten upper, and four pedal drawbars. Foot vibrato switch (vibrato provided in the tone cabinet) Amp/Output: Internal preamp only. Features: Console style with two 61-note manuals. Has a self-starting, 96 frequency, tonewheel generator. 49-note arpeggiator, stereo reverb, attack percussion, harp sustain, variable reiteration, alternating reiteration, , cymbal and brush, music rack light. Required a special X-77 tone cabinet for each version. Wood console body on polished aluminum legs. Available in Walnut, Cherry and Custom finishes. Picture: X77 ---------------------------------------------------------------------------- Model XB-2 (Hammond-Suzuki) Production Years: Currently in production. Synopsis: Portable keyboard, electronic simulation of a tone generator Hammond. Manuals: Single 61 key velocity sensing manual. Controls: 9 drawbars, V1-3/C1-3, 2nd/3rd percussion with slow/fast decay, keyclick, pitch wheel, mod/overdrive wheel, volume, treble, bass. Amp/Output: Internal preamp, drives 11-pin Leslie directly. Features: 2 zone MIDI, keyboard splits, factory and user presets, overdrive, harmonic foldback, Leslie simulation, LCD display. Optional reverb. 11 pin Leslie output connector, effects loop, expression pedal and footswitch inputs. Picture: XB2 front, XB2 back ---------------------------------------------------------------------------- Model XB-3 (Hammond-Suzuki) Production Years: Currently in production. Synopsis: Electronic simulation of tonewheel Hammond. Manuals: Two 61 key velocity sensing manuals. Pedals: 25 note pedalboard. Controls: Two drawbar groups of 9 per manual and two drawbars for pedals. Programmable harmonic drawbar foldback. Pitch bend and modulation levers. Features: Built-in digital reverb, vibrato, chorus, tube overdrive effects. Assignable expression/volume pedal, assignable foot switch/Leslie speed control. Bass, treble, reverb, overdrive, input volume, and total volume level knobs. Vibrato/Chorus with upper/lower enable buttons. 2nd/3rd harmonic with slow or fast decay and percussion buttons. 2 line 20 character LCD. 11 Pin female Leslie output connector, L/R audio outputs, effects loop, headphone jack, two sets of unbalanced inputs, 25 pin pedal board connector, multi pin wheel box connector, MIDI in/out/thru, MIDI sysex dump. 165 lbs. List price is above $15000 US. (Reviewed in Keyboard July '94). Picture: XB3 front, XB3 back ---------------------------------------------------------------------------- Model XB-5 (Hammond-Suzuki) Production Years: Currently in production.x Synopsis: Electronic simulation of a tonewheel Hammond. Manuals: Great and Swell, 61 velocity sensitive keys each. Controls: 9 drawbars per manual plus 2 for pedals (16' and 8'). Pitch bend and modulation/overdrive wheels. Amp/Output: 11 Pin female Leslie output connector, L/R audio outputs, effects loop, headphone jack. Features: 2 zone MIDI per manual, 9 presets with RAM expansion card for 28 banks of 9 presets each, extensive programmability, LCD, Volume, treble, bass, and display contrast controls. L/R external inputs, expression pedal and footswitch inputs, MIDI in/out/thru, MIDI sysex dump. 64 lbs. List price ~$7000; with console package, pedal board, bench, stand, ~$10000 US. (Reviewed in Keyboard October '93). Picture: XB5 front, XB5 back ---------------------------------------------------------------------------- Model Novachord Production Years: 1939 to 1942 (1069 made) Synopsis: Polyphonic synthesiser. Manuals: 72 note manual. Features: 169 vacuum tubes, attack control, sustaining pedals, 500lbs. Plugs into PR-40 (but has internal speakers). ---------------------------------------------------------------------------- Model Solovox Production Years: 1940 to 1948 Synopsis: 3 Octave valve based mono synth. Hell to keep in tune. ---------------------------------------------------------------------------- Model SY100 Production Years: 1974 to 1976 Synopsis: Same as S6 but with a swell pedal instead of a knee lever. Picture: SY100 ---------------------------------------------------------------------------- Model T100 Production Years: 1968 to 1975 Synopsis: Transistor spinet organ with vibrato and repetative percussion voices. Transistor amps, reverb, rythm units and in built Leslie. Cabinet Size: 45x25x44.5 (WHD, inches), 235lbs with bench Manuals: 44 note swell and great, 13 pedals. Controls: 9 drawbars per manual, 1 pedal drawbar Amp/Output: 34W solid state internal amp with reverb. Features: T100/111/112 - basic organ, no built in Leslie T200 - as T100 with built in 2 speed Leslie T211 - traditional red mahogany T212 - traditional walnut T222 - contemporary walnut T233 - french Provincial cherry T243 - early American cherry T295 - mediterranean oak T300 - as T200 with built in rhythm unit. ---------------------------------------------------------------------------- Model X-5 Synopsis: Full size transistor organ with tone cabinet and rythm unit. ---------------------------------------------------------------------------- Model R100 Synopsis: Full size organ with transistor amps and built in Leslie - similar to E100. Manuals: 61 note swell and great, 25 pedals. Features: One set of nine drawbars for each manual, Hammond Rythem unit 2, built in reverb. ---------------------------------------------------------------------------- - Hammond Tone Cabinet Models - Model A-20 Production Years: Oct. 1935 to Oct. 1939. Cabinet Size: 27" wide, 30" high, 15" deep. Power: 20 Watts. Speakers: 2-12" electrodynamic speaker. Amp/Crossover: Parallel push-pull 2A3s, 2-56 triodes, 1-5Z3 rectifier. Comments: Attractive cabinet with doors, makes a great bar. ---------------------------------------------------------------------------- Model A-40 Production Years: Oct. 1935 to 0ct 1947. Cabinet Size: Utility cabinet 26.5" wide, 28" high, 19" deep. Power: 40 Watts. Speakers: 4-12" electrodynamic speakers. Amp/Crossover: Uses two of same amp in the A-20. ---------------------------------------------------------------------------- Model B-40 Production Years: Nov. 1936 to Dec. 1947. Power: 40 Watts. Comments: Same as the A-40 in a seme decorative cabinet. ---------------------------------------------------------------------------- Model C-20 Production Years: Oct. 1937 to Mar. 1942. Power: 20 Watts. Amp/Crossover: Very early units used same amp as A-20. Later units had 4 6V6, 1 6SN7 and 1 5U4. Comments: All C-20 cases were quite deluxe. ---------------------------------------------------------------------------- Model C-40 Synopsis: Spinette style cabinet. Same specs. as A-40. Cabinet Size: 38 wide, 71 high, 27.5 deep. ---------------------------------------------------------------------------- Model CX-20 Production Years: Jan. 1939 to Mar. 1942 Synopsis: Same as C-20 with tremolo rotor, similar to Leslie bass rotor. speakers were mounted on a "Vee" shaped baffle with the rotor in the center. ---------------------------------------------------------------------------- Model CXR-20 Synopsis: Same specs as CR-20 with addition of the oil reverb unit. Amp/Crossover: An additional preamp chassis with 2 6J5's and 2 6J7's interfaced the reverb. On later units the tubes were 1 6SN7 and 2 6SJ7's. ---------------------------------------------------------------------------- Model D-20 Synopsis: Same as C-20 in a more utilitarian cabinet. ---------------------------------------------------------------------------- Model DR-20 Synopsis: Same as D-20 with addition of oil reverb. See CXR-20 for description of amplifiers(s). On later versions, reverb preamp was incorporated into the main amp. chassis. ---------------------------------------------------------------------------- Model DXR-20 Synopsis: Same as CXR-20 in a plainer case. ---------------------------------------------------------------------------- Model ER-20 Production Years: Mar. 1947 to Dec. 1950. Synopsis: Same speakers, amps and reverb as late DR-20. Cabinet Size: 31 wide, 38.75 high, 18 deep. ---------------------------------------------------------------------------- Model F-40 Production Years: Jan. 1948 to Dec. 1957. Synopsis: Essentially a B-40 with revised woodwork dimentions to accomodate a reverb unit. When so equipped, becomes FR-40. Cabinet Size: 32 5/16 wide, 39 3/16 high, 28 3/8 deep. ---------------------------------------------------------------------------- Model H-40 and HR-40 Production Years: Oct. 1948 to Feb. 1960. Cabinet Size: 33-1/8 wide, 48 high, 16-7/8 deep. Power: 40 Watts. Speakers: 9-10" speakers for Bass and 2-12" for treble. Reverb: R model has oil reverb which affects only the treble channel. Amp/Crossover: Two amplifiers similar to D-20 or DR-20 in early units. Later units had both channels on one chassis and used 2 5U4's, 2 6SN7's, 2 6SJ7's, 1 6SC7 and 8 6V6's. Active crossover at 200 Hz 12dB per octave. ---------------------------------------------------------------------------- Model JR-20 Production Years: March 1951 to Feb. 1959. Cabinet Size: 29-3/4 wide, 39-3/4 high, 15-7/8 deep. Power: 20 Watts. Speakers: 4-10" Bass speakers and 1-12" treble speaker. Reverb: Oil reverb in three degrees on both channels. Amp/Crossover: Active crossover - 200HZ, 12db per oct. Amp uses 1 5U4, 4 6V6's, 2 6SJ7,s, 2 6SN7's and 1 6SC7. Comments: Most B and C 2 and 3's were sold with this cabinet. ---------------------------------------------------------------------------- Model K-40 and KR-40 Synopsis: Same as H and HR-40 in utility cabinet. ---------------------------------------------------------------------------- Model P-40 and Q-40 Synopsis: Same as PR-40 and Q-40 sans reverb. ---------------------------------------------------------------------------- Model PR-20 and QR-20 Production Years: Feb. 1959 to Jul. 1963. Cabinet Size: 31-1/2 wide, 37-1/2 high, 18 deep. Power: 20 Watts. Speakers: 2-15" bass speakers and 2-12" treble speakers. Reverb: These cabinets use the three necklace dry reverberation unit. Amp/Crossover: Amp used 1-5U4, 1-12BH7, 2-12AX7's, 1-12AU7, 2-6AU6's, 6-6BQ5's and one 2N169 transistor for reverb recovery. Three channels 0-200hz bass, 200+hz treble and treble reverb. ---------------------------------------------------------------------------- Model PR-40 and QR-40 Synopsis: Same as PR and QR-20 except 2 5U4's, heavier transformers and speakers. Power: 50 Watts. Picture: PR-40 ---------------------------------------------------------------------------- Model Series 10 Synopsis: Solid-state for H-100, E-100, etc. Power: 145 Watts. Speakers: 1-15" and 2-8" speakers. ---------------------------------------------------------------------------- Model Series 12 Synopsis: Solid-state for the X-66 only. ---------------------------------------------------------------------------- Leslie Models Model 16 Cabinet: Vinyl covered, grille cloth Dimensions: 29" x 21" x 14" Rotors: Single Amplifiers: None Speeds: Fast-Slow Speakers: I Belts: B Motor-fast: 1 Motor-slow: 3 Notes: Special connector/for Combo Guitar amps Hookup: Non-Standard ---------------------------------------------------------------------------- Model 18 Cabinet: Vinyl covered, grille cloth Dimensions: 29" x 21" x 14" Rotors: Single Amplifiers: None Speeds: Fast-Slow Speakers: L Belts: B Motor-fast: 1 Motor-slow: 3 Hookup: Non-Standard ---------------------------------------------------------------------------- Model 21H Cabinet: Wood Dimensions: 41" x 29" x 20.5" Rotors: 2- Bass/Treble Amplifiers: Tube 40 watt w/ 4-6V6 finals Speeds: Fast-Stop Speakers: X,P Belts: A,B Motor-fast: ,1 Motor-slow: None Notes: 21H was the first to use the modern 41" X 29" X 20.5 cabinet. Top has single louvre on each side, divided in front, but top louvres are now in the same direction as the bottom (tapered side faces down). Otherwise, identical to 122. Single-speed, both motors mounted downward. 32H power amplifier had four 6V6s in push-pull parallel configuration. 30W amplifier w/p-p parallel 6L6s was optional, as was a dynamic brake. The woofer was an electrodynamic type. Hookup: 6A ---------------------------------------------------------------------------- Model 22H Cabinet: Wood Dimensions: Unknown Rotors: 2- Bass/Treble Amplifiers: Tube 40 watt w/ 2-6550 finals Speeds: Fast-Stop Speakers: O,P Belts: A,B Motor-fast: 1,1 Motor-slow: none Notes: Identical in appearance to the 122. Single speed. Has 15" Permanent Magnet Jensen P15LL, and 3/4" Jensen driver. First generation of modern amplifier using 6550 output tubes and 0C3 regulator. First series below serial 21500 uses 5U4 rectifier section, amplifier rated at 35 watts. Later series serial 21500 to 24500 uses diode rectifier section, amplifier rated at 40 watts. Hookup: 6A ---------------------------------------------------------------------------- Model 22R Notes: Same as 22H, set up for field installation of reverb kit. Cabinet has additional side louvers on each side for reverb speaker, with internal back box for 6 X 9" speaker isolation. Top compartment is slightly taller (center section is smaller) to allow room for reverb amp installation on top shelf. First series below sn 40900 uses amplifier as above; 40900 to 42500 use diode rectifier amplifier. Reverb system includes: one 6 x 9" speaker; necklace-type spring delay mounted on inside of LF cabinet wall; reverb amplifier using p-p 7189 tubes mounted in top compartment. ---------------------------------------------------------------------------- Model 25 Cabinet: Wood Dimensions: 34x29x18.5 (HWD inches) Rotors: 1 Amplifiers: Tube 6L6 P-P Speeds: Fast-Stop Speakers: M Belts: B Motor-fast: 1 Motor-slow: none Notes: Single speed, also called the Orpheus. Hookup: 6B ---------------------------------------------------------------------------- Model 30 Cabinet: Unknown Dimensions: Unknown Rotors: 2 Bass/Treble Amplifiers: Tube 20 watt Speeds: Fast-Stop Speakers: X,P Belts: A,B Motor-fast: NLA Motor-slow: none Hookup: Unknown ---------------------------------------------------------------------------- Model 31H Cabinet: Wood Dimensions: Unknown Rotors: 2 Bass/Treble Amplifiers: Tube 30 watt Speeds: Fast-Stop Speakers: X,P Belts: A,B Motor-fast: 1 Motor-slow: none Notes: This was the first Leslie built for use with Hammond organs. The case looked different to the later models, with a larger bottom part. Also it featured at least 3 different amps, all similar in appearance, but early ones used a toggle switch for fast/off, latter ones had a hook up like the 122. Hookup: Early - Non Standard, Late - 6A ---------------------------------------------------------------------------- Model 44 Cabinet: Wood Dimensions: 33" x 28" x 21" Rotors: 2 Bass/Treble Amplifiers: Tube 40 watt Speeds: Fast-Stop Speakers: X,P Belts: A,B Motor-fast: 1 Motor-slow: none Notes: Early 45 Hookup: 6B ---------------------------------------------------------------------------- Model 45 Cabinet: Wood Dimensions: 33" x 28" x 21" Rotors: 2 Bass/Treble Amplifiers: Tube 40 watt w/ 6550 finals Speeds: Fast-Stop Speakers: O,P Belts: A,B Motor-fast: 1 Motor-slow: none Notes: Early 45 Hookup: 6B ---------------------------------------------------------------------------- Model 46 Cabinet: Wood Dimensions: 41" x 28" x 21" Rotors: 2 Bass/Treble Amplifiers: Tube 40 watt Speeds: Fast-Stop Speakers: X,P Belts: A,B Motor-fast: 1 Motor-slow: none Notes: Early 47 Hookup: 6B ---------------------------------------------------------------------------- Model 47 Cabinet: Wood Dimensions: 41" x 28" x 21" Rotors: 2 Bass/Treble Amplifiers: Tube 40 watt Speeds: Fast-Stop Speakers: O,P Belts: A,B Motor-fast: 1 Motor-slow: none Hookup: 6B ---------------------------------------------------------------------------- Model 51H Cabinet: Wood Dimensions: Unknown Rotors: 2 Amplifiers: 2 channel Tube - 40 watt rotor/? watt stationary Speeds: Fast-Stop Speakers: 2-F,O,P Belts: A,B Motor-fast: 1 Motor-slow: none Notes: For 2 channel organs Rotor/Stat. or Main/Reverb Hookup: Non Standard ---------------------------------------------------------------------------- Model 77L/77P Notes: Made to work with the X77 Hammond, it has four 50W solid state amplifiers, and a conventional upper rotor. ---------------------------------------------------------------------------- Model 122 Cabinet: Wood Dimensions: 41" x 29" x 20 1/2" Rotors: 2 Bass/Treble Amplifiers: Tube 40 watt w/6550 finals Speeds: Fast-Slow Speakers: O,P Belts: A,B Motor-fast: 1 Motor-slow: Upper 2,Lower 3 Notes: For Hammonds A,B,C,RT,et. al. Hookup: 6A Picture: 122 (with a C3) ---------------------------------------------------------------------------- Model 122A Notes: Same as the 122, but with a single motor on each rotor and a tachometer circuit to control speed. (Motor type: 4 ?) Hookup: 6A ---------------------------------------------------------------------------- Model 122A-T Notes: Same as 122A except for textured black finish for rugged professional applications. ---------------------------------------------------------------------------- Model 122R or V Notes: Same as a 122 but with cut outs on one side for a reverb speaker and Kit (option) ---------------------------------------------------------------------------- Model 122RV Notes: Same as a 122 with reverb kit factory installed. Reverb speaker is a 6 x 9 type E (see table below) ---------------------------------------------------------------------------- Model 122XB Notes: Electrically identical to the 122A except that it is configured with an 11 pin connector to interface directly with the newer, Hammond XB series. ---------------------------------------------------------------------------- Model 122XB-T Notes: Same as 122XB, except with textured black finish and side handles for rugged professional applications. ---------------------------------------------------------------------------- Model 125 Cabinet: Wood Dimensions: 33" x 19" x 21" Rotors: 1 Amplifiers: Tube 40 watt Speeds: Fast-Slow Speakers: M Belts: B Motor-fast: 1 Motor-slow: none Hookup: 6B Picture: 125 (with L100) ---------------------------------------------------------------------------- Model 130 Cabinet: Wood with "decorator" front Dimensions: 30" x 27" x 20" Rotors: 1 Amplifiers: Solid State 50 watt Speeds: Fast-Slow Speakers: B,M Belts: B Motor-fast: 1 Motor-slow: 2 Hookup: 11 ---------------------------------------------------------------------------- Model 142 Cabinet: Wood Dimensions: 33" x 29" x 21" Rotors: 2 Bass/Treble Amplifiers: Tube 40 watt w/ 6550 finals Speeds: Fast-Slow Speakers: O,P Belts: A,B Motor-fast: 1 Motor-slow: Upper 2, Lower 3 Notes: Shorty 122 cabinet Hookup: 6A ---------------------------------------------------------------------------- Model 145 Cabinet: Wood Dimensions: 33" x 29" x 21" Rotors: 2 Bass/Treble Amplifiers: Tube 40 watt w/ 6550 finals Speeds: Fast-Slow Speakers: O,P Belts: A,B Motor-fast: 1 Motor-slow: Upper 2, Lower 3 Notes: Shorty 147 cabinet Hookup: 6B ---------------------------------------------------------------------------- Model 147 Cabinet: Wood Dimensions: 41" x 29" x 20 1/2" Rotors: 2 Bass/Treble Amplifiers: Tube 40 watt w/6550 finals Speeds: Fast-Slow Speakers: O,P Belts: A,B Motor-fast: 1 Motor-slow: Upper 2,Lower 3 Notes: For most any organ. Hookup: 6B ---------------------------------------------------------------------------- Model 147R or V Notes: Same as 147 but with cutouts on one side of the cabinet for a reverb speaker and kit (Option) ---------------------------------------------------------------------------- Model 147RV Notes: Same as 147 with reverb kit factory installed. Reverb speaker is a 6 x 9 type E (see table below) ---------------------------------------------------------------------------- Model 222 Notes: Same as the 122 except decorator style cabinet (30" x 40" x 20") ---------------------------------------------------------------------------- Model 222R or V Notes: Same as 222 but with cutouts in the cabinet for reverb speakers and kit (Option) ---------------------------------------------------------------------------- Model 222RV Notes: Same as 222 with reverb kit factory installed. Reverb Speakers are 2 6 x 9 type E (see table below) ---------------------------------------------------------------------------- Model 246 Notes: No information available form any know source. May not have existed. ---------------------------------------------------------------------------- Model 247 Notes: Same as 147 except decorator style cabinet (30" x 40" x 20") ---------------------------------------------------------------------------- Model 247R or V Notes: Same as 247 but with cutouts in the cabinet for reverb speakers and kit (Option) ---------------------------------------------------------------------------- Model 247RV Notes: Same as 247 with reverb kit factory installed. Reverb speakers are 2 6 x 9 type E (see table below) ---------------------------------------------------------------------------- Model 251 Cabinet: Wood Dimensions: 40" x 29" x 21" Rotors: 2 Bass/Treble Amplifiers: 2 Channel Tube 40 watt rotor/15 watt Stationary Speeds: Fast-Slow Speakers: 2-F,O,P Belts: A,B Motor-fast: 1 Motor-slow: 2 Notes: This was intended for use with the "Self contained" models like the A-100 or the M-100. Hookup: Non standard ---------------------------------------------------------------------------- Model 315 Notes: Same as 415 except different cabinet "Combo Professional" ---------------------------------------------------------------------------- Model 330 Cabinet: Vinyl Dimensions: 37" x 29" x 21" Rotors: 2 Bass/Treble Amplifiers: Solid State 60 watt Speeds: Fast-Slow Speakers: O,R Belts: A,B Motor-fast: 1 Motor-slow: 2 Hookup: 11 ---------------------------------------------------------------------------- Model 351 Notes: Same as 251 except decorator style cabinet (30" x 29" x 20.5") ---------------------------------------------------------------------------- Model 415 Cabinet: Wood Dimensions: 30" x 27" x 18" Rotors: 2 Treble/Roto-Sonic type C Amplifiers: 2 Channel Solid State 140 watts Speeds: Fast-Slow Speakers: 2A,E,K,P Belts: D,D Motor-fast: 4 Motor-slow: 4 Hookup: 11 ---------------------------------------------------------------------------- Model HL422 Notes: Same as 415 except made for Old Hammond B-3000 (Analog synth of the B3) ---------------------------------------------------------------------------- Model 710 Cabinet: Wood Dimensions: 41" x 29" x 21" Rotors: 2 Treble/Roto-Sonic type C Amplifiers: 2 Channel Solid State 90 watt Speeds: Fast-Slow Speakers: 2-S,N,P Belts: A,B Motor-fast: 1 Motor-slow: 2 Hookup: 9 ---------------------------------------------------------------------------- Model 715 Cabinet: Wood Dimensions: 42" x 29" x 21" Rotors: 2 Treble/Roto-Sonic type E Amplifiers: 2 Channel Solid State 215 watt Speeds: Fast-Slow Speakers: 2-D,S,N,P Belts: A,B Motor-fast: 1 Motor-slow: 2 Hookup: 11 ---------------------------------------------------------------------------- Model 720 Cabinet: Wood Dimensions: 42" x 28" x 21" Rotors: 2 Bass/Treble Amplifiers: 2 Channel Solid State 90 watt Speeds: Fast-Slow Speakers: 2-H,J,N,P Belts: A,B Motor-fast: 1 Motor-slow: 2 Hookup: 11 ---------------------------------------------------------------------------- Model 722 also HL722 Cabinet: Wood Dimensions: 42" x 31" x 21" Rotors: 2 Treble/Roto-Sonic type E Amplifiers: 2 Channel Solid State 215 watt Speeds: Fast-Slow Speakers: 2-D,S,N,P Belts: A,B Motor-fast: 1 Motor-slow: 2 Notes: Made for Old Hammond B-3000 (Analog Synth of a B3) Hookup: 11 ---------------------------------------------------------------------------- Model 723 Notes: No available information from known sources. May not have existed. ---------------------------------------------------------------------------- Model 730 Cabinet: Vinyl Dimensions: 45" x 29" x 21" Rotors: 2 Bass/Treble Amplifiers: 2 Channel Solid State 90 watt Speeds: Fast-Slow Speakers: 2-H,M,N,P Belts: A,B Motor-fast: 1 Motor-slow: 2 Hookup: 11 ---------------------------------------------------------------------------- Model 760 Cabinet: Vinyl Dimensions: 43" x 28" x 23" Rotors: 2 Bass/Treble Amplifiers: 2 Channel Solid State 90 watt Speeds: Fast-Slow Speakers: N,P Belts: A,B Motor-fast: 1 Motor-slow: Upper 2, Lower 3 Notes: One of the most popular one-case Leslies. Hookup: 9 (also Leslie Combo Pre-Amp II) ---------------------------------------------------------------------------- Model 770 Notes: Same as 760 except wooden case like 122/147 (41" x 29" x 21") Picture: 770 ---------------------------------------------------------------------------- Model 815 Cabinet: Vinyl Dimensions: 44" x 28" x 21" Rotors: 2 Treble/Roto-Sonic type E Amplifiers: 2 Channel Solid State 215 watt Speeds: Fast-Slow Speakers: 2-D,S,N,P Belts: A,B Motor-fast: 1 Motor-slow: 2 Hookup: 11 ---------------------------------------------------------------------------- Model 820 Cabinet: Vinyl Dimensions: 31" x 25" x 19" Rotors: 1 Amplifiers: Solid State 60 watt Speeds: Fast-Slow Speakers: L Belts: B Motor-fast: 1 Motor-slow: 2 Hookup: 11 ---------------------------------------------------------------------------- Model 822 also HL822 Cabinet: Vinyl Dimensions: 47" x 28" x 38" Rotors: 2 Treble/Roto-Sonic type E Amplifiers: 2 Channel Solid State 215 watt Speeds: Fast-Slow Speakers: 2-D,S,N,P Belts: A,B Motor-fast: 1 Motor-slow: 2 Hookup: 11 ---------------------------------------------------------------------------- Model 825 Cabinet: Vinyl Dimensions: 31" x 25" x 19" Rotors: 1 Amplifiers: Solid State 70 watt Speeds: Fast-Slow Speakers: L Belts: B Motor-fast: 1 Motor-slow: 2 Notes: Hooks up to a Leslie Combo Preamp II Hookup: 9 ---------------------------------------------------------------------------- Model 860 Cabinet: Vinyl Dimensions: 25" x 25" x 19" Rotors: 2 Bass/Treble Amplifiers: Solid State 120 watt Speeds: Fast-Slow Speakers: L,R Belts: A,B Motor-fast: 1 Motor-slow: 2 Hookup: 11 ---------------------------------------------------------------------------- Model 900 Cabinet: Vinyl Dimensions: unknown Rotors: 2 Bass/Treble Amplifiers: Solid State 100 watt Speeds: Fast-Slow Speakers: 2-F,N,P Belts: ?,B Motor-fast: 1 Motor-slow: 2 Notes: 2 piece road cabinet wit built in reverb Hookup: 9 ---------------------------------------------------------------------------- Model 910 Cabinet: Vinyl Dimensions: 55" x 29" x 21" Rotors: 2 Bass/Treble Amplifiers: Solid State 100 watt Speeds: Fast-Slow Speakers: 2-F,N,P Belts: ?,B Motor-fast: 1 Motor-slow: 2 Notes: 2 piece road cabinet w/built-in reverb Hookup: 9 ---------------------------------------------------------------------------- Model 925 Cabinet: Vinyl Dimensions: 55" x 29" x 21" Rotors: 2 Bass/Treble Amplifiers: Solid State 140 watt Speeds: Fast-Slow Speakers: 4-F,N,P Belts: A,B Motor-fast: 1 Motor-slow: 2 Notes: 2 piece road cabinet Hookup: 9 ---------------------------------------------------------------------------- Model 950 Cabinet: Vinyl Dimensions: 68" x 36" x 23" Rotors: 4 Amplifiers: Solid State 200 watt Speeds: Fast-Slow Speakers: 4-L Belts: 4-B Motor-fast: 4-1 Motor-slow: 4-2 Notes: 2 piece road cabinet w/ four independent visible rotors, and black light effects Hookup: 9 ---------------------------------------------------------------------------- --- Warning --- Real damage can occur if you connect a Leslie incorrectly. While every reasonable effort has been made to insure these pinouts and the Leslie references to them are accurate, the Service Manual is the ultimate authority on technical matters. ------------------------------------------------------------------------- Type 11 (Contacts are numbered 1-11 counterclockwise, looking straight at the female end of the cable or the back of your keyboard, presumably. Index mark between pins 1 & 11.) Pin # Function in a 900 series cabinet 1 Rotary (brown) 2 Main (if equipped) 3 Aux (if equipped) 4 circuit ground (yellow) 5 control supply common (green) 6 Cabinet on/off (Short to pin 5 to turn on) (blue) 7 fast motor control (violet) 8 slow motor control (gray) 9 n/c 10 n/c 11 +28.5v (white) Here's the motor speed control table: motor mode short pin #5 to: off pins #6 only slow pins #6 and #8 fast pins #6 and #7 ---------------------------------------------------------------------------- Type 9 This is the most dangerous one because there are so many different pin assignments there is almost no standard 9 pin connection. (Pins are numbered counter-clockwise, viewing the rear of the male connector. Index mark between pins 1 & 9). Pin # Function in a 900 series cabinet 1 Ground 2 Signal input 3 No Connection 4 Reverb/Aux control. Goes to ground, ground thru a diode, or open. 5 +28V out. 6 Goes to ground for FAST. 7 Goes to ground for SLOW. 8 120V in. 9 120V in. ---------------------------------------------------------------------------- Type 6A (Pins are numbered counter-clockwise, viewing the rear of the male connector. Index mark between pins 1 & 6). Pin # Function 1 Ground 1 balanced input signal 2 gnd 3 117VAC input 4 117VAC input 5 310VDC Output (through 10kohm) for control voltage and early Hammond preamps 6 balanced input signal Bias pins 1 and 6 to 70V for slow speed, gnd for fast. This must be done through an R-C network to develop a .5 to 1 second time constant to prevent switching transients from coupling to the input stage of the amplifier. If you do not understand the above statement, consult with a qualified service technician. ---------------------------------------------------------------------------- Type 6B (Pins are numbered counter-clockwise, viewing the rear of the male connector. Index mark between pins 1 & 6). Pin # Function 1 Ground 2 117VAC to relay solenoid 3 117VAC input 4 117VAC input 5 117VAC to relay solenoid 6 unbalanced input signal ---------------------------------------------------------------------------- Belts A) 522-045468 B) 522-011700 C) 522-020701 D) 522-141182 E) 543-111090 F) 522-021048 ---------------------------------------------------------------------------- Motors 1) 521-014019 Fast Motor 2) 521-012526 Slow Motor (up) 3) 521-014795 Slow Motor (down) 4) 521-141105 Motor (Tach) ---------------------------------------------------------------------------- Speakers A) 514-141153 2.52" - 8 ohm B) 514-137316 3"- 8 ohm C) 514-043125 6" x 9" - 8 ohm D) 514-138879 6" x 9" - 8 ohm E) 514-140431 6" x 9" - 8 ohm F) 514-031062 6" x 9" - 16 ohm G) 514-058214 6" x 9" - 16 ohm H) 514-137610 8" - 8 ohm I) 514-130540 10" - 4 ohm J) 514-017202 10" - 8 ohm K) 514-141069 12" - 4 ohm L) NLA 12" - 6 ohm M) 514-137348 12" - 8 ohm N) 514-031070 15" - 4 ohm O) 514-052308 15" - 16 ohm P) 514-140491 Treble Driver (3/4" Throat) Q) NLA 5" x 7" - 16 ohm R) NLA Treble Driver S) 514-058214 PN: 514-031062 w/ cover T) NLA 15" - 4 ohm U) NLA Treble Driver V) 014-056646 PN: 514-138879 w/ cover W) 014-056941 PN: ? w/ cover X) NLA 15" - 16 ohm Electro Dynamic. Replace with type "O" and place a separate choke of 2580 DCR in place of the field coil. ---------------------------------------------------------------------------- Appendix C - Bibliography, Information Resources List (printed material, folklore, interviews, etc). Maintained by Ben "Jacobs" (random@well.com) This version was updated: 24-May-96 -- click to download latest version ------------------------------------------------------------------------- Writings and other sources of information, pertaining to the Hammond Organ and Leslie Tone Cabinet specifically, and to electronic or pipe organ lore in general. Additions or corrections welcome. Online Resources section has undergone rapid growth, may soon reside in a separate document. TABLE OF CONTENTS: Magazine Articles / New Product Reviews Service Manuals, Books, etc. Videotapes Online Resources Homepages, Fan Pages, etc. Ongoing Hammond technical discussion is available by e-mail! List administrator is Mark Longo, contact at hammond-request@zk3.dec.com. To subscribe, mail to majordomo@zk3.dec.com with "subscribe hammond" in the body of your message. ------------------------------------------------------------------------- Keyboard magazine -------------------------------------- contact info: mail: Keyboard Magazine, POB 58528, Boulder, CO 80322 phone: 1-800-289-9919 (subscriptions); 415-655-4308 (archives/warehouse) Keyboard Central (WWW): http://www.keyboardmag.com/ reprints: mail: University Microfilms Int'l, 300 N Zeeb Rd, Ann Arbor, MI 48106 phone: 313-761-4700 -------------------------------------- articles: title unknown, Sept/Oct 1976, p45 Michael Smokowicz (Organ Service Company) describes technique for obtaining line out signal from a Hammond "Jimmy Smith 'These Hands Are Weapons!'" Robert L. Doerschuck, May 1988, pp 74-78. "Historic Masters of the Jazz Organ (Burnin' on the Big Bad B-3)" Geoff X. Alexander with Robert L. Doerschuk, May 1989 nice history of organ jazz and players brief discography "The Leslie Speaker, Part I", Vintage Synths, April 1990 history, mechanical description picture of Don Leslie (!) "The Leslie Speaker, Part II", Vintage Synths, June 1990 more history, inner workings list of shops/contacts "The Hammond B-3, Part I", Vintage Synths, Sept 1991 history, mechanical description "The Hammond B-3, Part II", Vintage Synths, issue unknown (Oct 1991?) unknown: more history, mechanical description? Special B-3 issue, Nov 1991 B-3 repair advice tips on buying a used B-3 comparison reviews of various clones "25 Hammond Licks You Must Know", Dave Amels, May 1994 short riffs, celebrity drawbar registrations "Joey DeFrancesco / Ex-Hammond Backer Stands by the 'B'", interview by Robert L. Doerschuck, July 1994, p12 comments about playing hammond gear Danny Gatton, John McGlaughlin, etc. Joey DeFrancesco, Career Update, Dec 1994, p15 Jimmy McGriff, Feb 1995, p14 comments on Hammond/Suzuki XB-3 vs stock B-3 what girls want to hear, etc. -------------------------------------- Reviews of Clones in Keyboard Magazine: E-MU VINTAGE KEYS, p142 - May 93 LESLIE SIMULATORS, p157 - Feb 90 Avalanche Brianizer, Dunlop Rotovibe, & Dynacord CLS 222 LESLIE SIMULATORS - May 95 Electro-Voice Fx70, Korg G4, Motion Sound Pro-3, and Voce Spin. LESLIE PREAMPS - Oct 95 C.A.E. LTP 122 and Trek II UC-IA. OBERHEIM OB-3^2 - Sep 95, p109; Nov 95, p20 (w/picture) VISCOUNT D9E ORGAN MODULE, "Short Takes", p141 - Jan. 93 VOCE DMI-64 MARK II, "Short Takes", p143 - April 94 VOCE MICRO B, p108 - Aug. 93 "B-3 WANNABE ROUNDUP" - Sept 95 Hammond Suzuki XB-2 Version 2, Oberheim OB-3, Peavey Spectrum Organ, Viscount D9, Voce Micro B II, & Voce V3. "ORGAN SHOOTOUT", p54 - Nov. 91 XB-2, Rhodes VK-1000, Korg CX-3, Voce DMI-64 Mark II (as compared to a B-3) ------------------------------------------------------------------------- Theatre Organ magazine "It All Started Just 60 Years Ago - The Hammond Organ Company - A Company that Created an Industry", Len Clarke, Jan 1995, pp20-24 journal of American Theatre Organ Society single issues avail $2.50 (where?) "Why I Love My Hammond Organ" (This & That), Nov/Dec 1995, p42 Charles Wood critiques his Hammond from a pipe organist's point of view ...on the Theatre Organ Site http://wcbi.com/organs/whyham.htm ------------------------------------------------------------------------- Recording-Engineer/Producer magazine "Unearthing the Mysteries of the Leslie Cabinet", April 1981, pp130-143 Clifford A. Henricksen Hammond FAQ Site http://ddi.digita l.net/~bbaker/mystery/mystery.html "Remoting the Leslie Organ Speaker", issue unknown Don Foster ------------------------------------------------------------------------- Audio Engineering Society (AES) journal "Design of Electronic Organs (Part 1-2)", Winston Wells, Aug-Sept 1947 "Design of Electronic Organs (Part 3)", Winston Wells, April 1948 "Design of Electronic Organs (Part 4)", Winston Wells, Sept 1948 ------------------------------------------------------------------------- German Keyboard magazine (in German) "The Hammond Story", ongoing series Sept 1989-Dec 1990 Dieter Enners o Sep 89: the founding of the Hammond company, Hammonds early products (clocks, bridge table) o Oct 89: the development of the Model "A" o Nov 89: the further development of the Hammond company until the 60's, marketing strategies... o Dec 89: the history of the Hammond company since 1960 o Jan 90: tonewheels, drawbars, presets, Model A and AB o Feb 90: Model BC, E, D, G, Player A-B o Mar 90: Model BV, B-2, B-3 (and recpectively the C and RT models) o Apr 90: the selfcontained models M, M-2, M-3, A-100, M-100, L-100, P-100 o Jun 90: tube Leslies o Aug 90: E-100, E-200, E-300, H-100, X-66, HX-100 o Oct 90: T-200, X-77, H-300, R-100, T-400, T-500 (last tonewheel organ!) o Dec 90: solid state Leslies ------------------------------------------------------------------------- Sound On Sound magazine (U.K.) Title unknown, Nov 1994 short discussion of rotary speaker simulators ------------------------------------------------------------------------- Down Beat magazine "Jimmy Smith Sermonizing in the '70s.". Larry Birnbaum Dec 15, 1977, pp 22.23, 57. ------------------------------------------------------------------------- Melody Maker magazine "Jimmy Smith - The Daddy of 'em All". Bob Houston, Feb 1965, p9. ------------------------------------------------------------------------- Jazz Times magazine "Jimmy Smith: Baron of the B-3.". April 1990, p37 ------------------------------------------------------------------------- Original Schematics, Service Manuals, "Official" Hammond Publications Reprint Hammond/Leslie service manuals (+ updates) available from: GOFF Professional 175H Costello Road Newington, CT 06111 Tel: 203-667-2358 E-mail: GOFFProf@aol.com (Al Goff) Organ Service Company, Inc. 6475 Joliet Road, Suite B1 - West La Grange, Illinois 60525 Tel: 708-352-8011 Fax: 708-482-9626 -------------------------------------- reprint service manuals for electric/electronic organs avail: mail to Mario Mere (mario@unix.ccsnet.com) Fifty Years of Musical Excellence, Hammond Organ Company, 1984 document #H000-0088365 "official" history of Hammond Company, 1934-1984 many pictures, info (incl. Solovox and Novachord) (also visit the Hammond FAQ site), and see Online Resources, below. ------------------------------------------------------------------------- Books Dictionary of Hammond-Organ Stops Stevens Irwin pub. G. Schirmer, New York, 3rd edition 1961 (orig. 1939) intro to playing the "Hammond Electric Organ" technique, exercises (incl. pedalboard) adaptation of common pipe organ registrations to Hammond early 1996: this seems to be reappearing in used book shops! Electric Organs: A Complete Catalogue, Textbook, and Manual, Robert Eby, pub. Van Campen Press, 1953. article on Hammond organ, pp97-104 The New Grove Dictionary of Jazz, ed. Barry Kernfield, 2 vols, pub. Macmillen Press Ltd (London), 1988. various articles related to organs, artists, etc. Organ Technique: A Basic Course of Study, Oswald G. Ragatz (1979) LC CALL NUMBER: MT182.R33, 78-3244 pipe organ? Organ Playing: Its Technique & Expression, A. Eaglefield Hull (1981) LC CALL NUMBER: MT180.H9 1981, 81-1474 pipe organ? (author lived 1876-1928) unknown: Hammond Organ Guide for Church Music (book of music) unknown: A Church Organist's Guide for Playing the Hammond Organ ------------------------------------------------------------------------- United States Patent Office, Washington, DC 20231 RE#23,323 and 2,622,693 original patents issued to Don Leslie "incredibly entertaining documents" ------------------------------------------------------------------------- Videos Hammondology Series, vols 1-3, Tony LaBrasca producer, 1994-5 mail: B.T. Productions, P.O. Box 81, Itasca, IL 60143, USA e-mail: Bt1955@aol.com www: B.T. Productions Homepage Vol 1: history, settings, models, maint tips, ~60 min (US$29.95) Vol 2: "Jazz" feat. Paul Wagnberg (US$34.00 video, $43.00 w/CD) Vol 3: "Gospel" feat. Stanley Spencer (US$34.00 vido only) reviewed in Keyboard, Oct 1994, p32 (see ad on p151). all 3 volumes highly acclaimed ------------------------------------------------------------------------- Radio Programs Interview with Don Leslie (All Things Considered, NPR, 1991) transcript available: National Public Radio, Audience Services, 212-414-3232 history of the Leslie company, development of the rotating speaker, relations with Hammond company, sale of Leslie to CBS (1965) ------------------------------------------------------------------------- Guide to Recordings CD World Reference Guide publ. CD International, P.O. Box 22014, Milwaukie, OR 97269 tel 503-652-1291, fax 503-653-6917 available at Tower Records (also see Online Resources, below) ------------------------------------------------------------------------- Online Resources Hammond tech e-mail list (send mail to majordomo@zk3.dec.com: body="subscribe hammond") (list admin by Mark Longo, hammond-request@zk3.dec.com) Ongoing, well-informed discussion of Hammond-related topics. Currently includes several equipment manufacturers and a number of veteran techs. (Intended for technical discussion only. Please post artist/recording topics to the B3-Groove list (see below). Avoid crossposting!) Note: Hammond tech list mail is archived, avail from the Hammond FAQ site (see below). Hammond FAQ site (faq & site admin by Brad Baker, bpb@cca.rockwell.com) Hammond & Leslie model histories, maintenance info postscript schematics, measured freq resp plots, etc. service/parts vendor list, print bibliography full archives of Hammond tech list discussion (RFC934 compliant) related articles, info text-only version of FAQ mailed to hammond tech list monthly (on 15th). http://ddi.digital.net/~bbake r/faq.html (WWW browsers) http://ddi.digital.net/~ bbaker/files/faq.txt (FTP text) Shop/Vendor List (compiled by Mark Longo, hammond-request@zk3.dec.com) techs, repair shops, equipment manufacturers, parts vendors, etc. (available at the Hammond FAQ site) Hammond Print Bibliography (compiled by Ben "Jacobs", random@well.com) list of known Hammond-related resources, in print, video, etc online resources list [THIS FILE!} download the latest version... http://www.well.com/user/ random/biblio.html (also available at the Hammond FAQ site) Hammond Grounds site (site maintained by Gilles Bacon, groove@tiac.net) lots of artist info, bios, reviews, interviews, related articles the (in)Complete Hammond Discography... HUGE! Hammond-related musician/band pages http://www.webcom.com/groove/hg/ (WWW browsers) ftp://ftp.webcom.com/pub1/groove/www/hg/groove.faq (FTP text) B3-Groove e-mail list (list admin by Gilles Bacon, groove@tiac.net) (mail listserv@home.ease.lsoft.com: body="subscribe B3 your name") Ongoing discussion of Hammond artists, recordings, live dates, related topics (NOTE: many common subscribers w/ hammond tech list. Please avoid crossposting!) Theatre Organ Home Page (admin Jerrell Kautz, jkautz@wcbi.com) theatre organ info: http://wcbi.com/organs/ many Hammond images (old & new): http://wcbi.com/organs/hammond/ "EORG-L" Electronic Organ Mail List (University of South Florida) (mail listserv@cfrvm.cfr.usf.edu: body="sub eorg-l yourfirstname yourlastname") Basic Organ Mail list - BOM (admin Steven Luttrell, lutch@pennet.net) (mail lutch@pennet.net: subject="basic organ mailing list") organ discussion (Hammond, Wurlitzer, Estey, Lowry, Kimball, etc) Commercial Products/Parts Vendors (for Hammond/Leslie gear): Trek II Products (mod kits, parts): http://www.tweb.com/MITA/trek/ B.T. Productions (instructional videos): http://www.webcom.com/~groove/bt/ New/Used Gear Prices, For Sale Lists, etc (various sources): Theatre Organ buy/sell list (+ Hammonds) http://wcbi.com/organs/ads.htm New Gear Prices (Casey Palowitch) http://www.pitt.edu/~cjp/newgea r.html Used Gear Prices (Neil Bradley) http://www.synthcom.com/usedlist.html used gear (for sale) http://cord.iupui.ed u/~badrian/list.html Trader's Connection http://www.trader.com/ Useful Synth/Keyboard/Effects Info Sites (various sources): MITA, Int'l (Musical Instrument Technicians Association) http://www.tweb.com/MITA/ (sources for parts, service manuals, info for many new & vintage keyboards) (info on joining MITA, member directory, conference info, etc) Harmony Central (new products, reviews, discussion, etc) http://harmony-central.mit.edu/ Analogue Heaven (analog synths!) http://www.h yperreal.com/music/machines/Analogue-Heaven/ Online CD Sales / Title Search / Information (various sources): telnet: cdconnection.com cdnow.com WWW: http://www.cdconnection.com/ http://www.cdnow.com/ (also check Yahoo under Entertainment:Music) modem: CD Connection 408-985-8982 -------------------------------------- Artist & Organ Collector Pages: Barbara Dennerlein WWW page (maintained by Martin Roth) http://www.scsc.ethz.ch/~roth/dennerlein/ bio, extensive discography, audio samples ELP / Keith Emerson page (unofficial) http://bliss.berkeley.edu/elp/ ELP info, rumors, photos, etc. fingerings for favorite K.E. riffs & ostinato figures (!) Olaf Schjelderup's Hammond page http://domen.uninet t.no/~osc/hammond/hammond.html photos of Olaf's Hammond C3 (c.1960) & Leslie 122 detailed photos of filter cap replacement procedure, using Goff kit Juha-Pekka Palmulaakso's Hammond page http://www.utu.fi/~juhpalmu/ hammond1.htm photos of cutdown Hammond L-202S (inside & out), Dynacord DC200 rotating spkr cab Lukas Rosenthaler's homepage http://foto .chemie.unibas.ch/staff/lrosenth/lrosenth.html GIF's, audio samples of Groove-T-Gang ------------------------------------------------------------------------- Bibliography maintained by random@well.com ------------------------------------------------------------------------- Appendix D - Essential Discography Maintained by Gilles Bacon (gilles@netcom.com) ------------------------------------------------------------------------- The discography of All Recordings Ever Made That Include Hammond Organ As A Main Or Accompanying Instrument That Anyone Thinks Are Important is not included in this version of the FAQ. What is included here are those recordings considered to be archetypical of a particular genre or are otherwise noteworthy. ------------------------------------------------------------------------- Listed by CD's artist name, w/ [organist in brackets next to the name], or before the CD name. (Notable artists in parentheses.) Dates are recording dates. C = compilation. ------------------------------------------------------------------------- Jazz * Davis, Wild Bill - Trio w/ Floyd Smith o At Birdland, 1955, Epic/Columbia o Impulsions, 1972, Black & Blue * DeFrancesco, Joey o Reboppin', 1992, Columbia o Relentless, 1992, Big Mo' * Donaldson, Lou o John Patton, The Natural Soul, 1962, Blue Note * Holmes, Richard "Groove" o Misty, 1966, Prestige o Night Glider, 1973, Musidisc * McDuff, "Brother" Jack o (K. Burrell), Crash, 1963, Prestige * McGriff, Jimmy o The Countdown, 1983, Milestone * Montgomery, Wes o Mel Rhyne, Guitar on the Go, 1963, Riverside * Patton, John "Big" o (G. Green) Along Came John, 1963, Blue Note o (G. Green) Blue John, 1963, Blue Note o (G. Green) Let 'Em Roll, 1965, Blue Note o (John Zorn) Blue Planet Man, 1993, Paddle Wheel * Rhyne, Melvin o Boss Organ, 1993, Criss * Scott, Shirley o (S. Turrentine) Queen of the Organ (Live), 1965, Impulse * Smith, Jimmy o (D. Byrd/H. Mobley/A. Blakey) A Date w/ JS Vols. 1&2, 1957, Blue Note o (L. Donaldson/K. Burrell/A. Blakey) JS At The Organ V. 1&2 1957, Blue Note o (L. Donaldson/K. Burrell/A. Blakey) The Sermon, 1957-8, Blue Note o (L. Morgan/G. Coleman/A. Blakey) House Party, 1958, Blue Note o (I. Quebec/J. McLean/Q. Warren) Open House/Plain Talk, 1960, Blue Note o (S. Turrentine/K. Burrell) Back At The Chicken Shack, 1960, Blue Note o (S. Turrentine/K. Burrell) Midnight Special, 1960, Blue Note o (Quentin Warren/Donald Bailey) Crazy! Baby, 1960, Blue Note o (Kenny Burrell/Jimmie Smith) ,The Master (Live), 1993, Blue Note o (Q. Warren/Orch.) Bashin', 1962, Verve o (K. Burrell/Grady Tate) Organ Grinder's Swing, 1965, Verve o (Wes Montgomery/Orch.) The Dynamic Duo, 1966, Verve o (S. Turrentine/K. Burrell), Fourmost (Live), 1990, Milestone * Smith, Dr. Lonnie - Trio w/ John Abercrombie o Purple Haze - Hendrix Tribute, 1994, Venus o Foxy Lady - Hendrix Tribute, 1994, Venus * Stitt, Sonny w/ Jack McDuff o Stitt Meets Brother Jack, 1962, Prestige * Young, Larry o (T. Schwartz) Testifying, 1960, Prestige o (J. Henderson, W. Shaw, E. Jones) Unity, 1964, Blue Note * Willette, "Baby" Face o Face To Face, 1962, Blue Note ------------------------------------------------------------------------- Blues/R&B/Gospel * Dogget, Bill o Doggett Beat For Dancing Feet, C1952-9, King o Dance Awhile With Doggett, C1952-9, King * Earl, Ronnie & the Broadcasters [Bruce Katz] o Still River, 1993, AudioQuest o Language of the Soul, 1994, Bullseye Blues * Katz, Bruce o Crescent Crawl, 1992, AudioQuest * King, Albert o J. Washington, Live Wire/Blues Power, 1968, Stax * Levy, Ron (Wild Kingdom) o B-3 Blues & Grooves, 1993, Rounder * Peterson, Lucky o (Melvin Taylor) Ridin', 1984, Isabel * Spann, Otis o Cryin' Time, 1968, Vanguard ------------------------------------------------------------------------- Rock/Fusion * Blind Faith [Steve Winwood] o Blind Faith, 1969, Polydor * Hendrix Experience, The Jimi o Al Kooper, Electric Ladyland, 1968, MCA * Santana [Gregg Rolie] o Santana I, 1968, Columbia * Spencer Davis Group [Steve Winwood] o Gimme Some Lovin', 1967, EMI USA * Williams, Tony Lifetime o (John McLaughlin) Tony Williams Lifetime, 1970, Polydor ------------------------------------------------------------------------- Funk/R&B * Booker T. & the MG's [Booker T. Jones] o Green Onions, 1962, Atlantic o Soul Dressing, 1964, Atlantic * Brown, James o Bobby Byrd, Soul Pride: The Instrumentals, 1960-69, Polydor * Funk Inc. [Bobby Whatley] o Funk Inc., 1971, Prestige o Chicken Lickin', 1972, Prestige * Meters, The [Art Neville] o The Meters, 1969, Josie o Look-Ka Py Py, 1970, Josie o Struttin', 1970, Josie * Parker, Maceo o Don Pullen, Roots Revisited, 1990, Verve ------------------------------------------------------------------------- Acid-Jazz * Directions In Groove [Scott Saunders] o Deeper, 1994, Verve ------------------------------------------------------------------------- Various Artists * Verve: o Jazz 'Round Midnight: Organ, 1989, 841 448-2 * Blue Note: o So Blue So Funky Vol. 1 (Blue Funk), 1991, CDP 7965632 o So Blue So Funky Vol. 2, 1994, CDP 8290922 ------------------------------------------------------------------------- Appendix E - Parts & Service Suppliers Hammond & Leslie Shops Version 1.22, maintained by Mark Longo (longo@zk3.dec.com) Last updated 10/96 This is a listing of people and companies who supply parts or service for Hammond organs and related gear. While many of the people and companies listed here have been frequently used and highly recommended by hammond list members, many others have not. Do not assume that a supplier is reputable simply because they are listed here. ALWAYS seek referrals from the hammond list readership and elsewhere before entrusting your equipment to a stranger. ------------------------------------------------------------------------- North America ------------------------------------------------------------------------- Advance Organ Dave Lavingne Nottingham, NH Tel: (603) 679-2703 Comments: Hammond/Leslie repair shop Last update: 7/95 -------------------------------------------------------------------- All Brand Music Service 2860 W. Sylvania Ave. Toledo, OH 43613 Tel: (419) 472-3499, (472-FIXX) E-mail: bnelson@glassnet.com Contact: Bruce "Doc" Nelson (owner), or Matt "Fingers" Schad (technician) Comments: Hammond and Leslie service, parts, modificaton, rebuilding, and road-readying. Leslie Adapter Plates, preamps, reverb units, percussion units, boosters with treble and bass controls, and tube-style combo preamps. Buy, sell, trade. Last update: 3/96 -------------------------------------------------------------------- Antique Electronics Tel: (602) 820-5411 Comments: Sell tubes for vintage gear. Reported as reliable. Last update: 1/96 -------------------------------------------------------------------- B-3 Photographs P.O. Box 1155 Delaware, OH 43015-1155 Contact: David Backus E-mail: DGBACKUS@aol.com Comments: Museum quality photograhs of two vintage B-3 organs. Photos framed in real cherry or walnut to match the organs. E-mail for brochure. Last update: 7/96 -------------------------------------------------------------------- Bob Kames and Associates 4415 W.Forest Home Ave. Milwaukee, WI 53219 Tel: 414-321-8633 Contact: John Kames Comments: Restores, repairs, buys, sells, Hammonds. Last update: 3/96 -------------------------------------------------------------------- John Brennan Organ Service John Brennan Ottawa, ON, Canada Tel: (613) 228-3511 Comments: Repairs to Hammond tonewheel organs and other electronic organs/keyboards including the Korg CX-3 Last update: 5/95 -------------------------------------------------------------------- CAE Sound 1150 E. Santa Inaz San Mateo, CA 94401 Tel: 415-348-2737 Contact: Peter Miller, organ tech for Front Street Studio Comments: Restores and modifies Hammonds and Leslies. Also re-manufactures mechanical parts for Leslies. Peter Miller - organ tech for Front Street Studio / Grateful Dead Last update: 3/95 -------------------------------------------------------------------- John Carabello P.O. 36 Whitman, MA 02382 Tel:(617) 447-5612 Comments: restorer/seller of vintage Hammond gear. Also sells a video from Hammond that shows B-3's being made on a production line and some old Leslie demo records. Last update: 3/95 -------------------------------------------------------------------- Celedonia Organ Service 1365 Center Ave. Pittsburgh, Pa. 15229-1603 Contact:Kris Celedonia Tel:(412) 734-1244 Voice/FAX E-mail: inlink@usa.pipeline.com Web: http://www.tweb.com/MITA/celedonia Comments: Stock of used or rebuilt Hammond Organ parts including printed circuit boards, keys & key modules, transformers, motors and LSI chips. Last update: 6/96 -------------------------------------------------------------------- Celestion Speakers 89 Doug Brown Way Holliston, MA 01746 Tel: 508-429-6706 Fax: 508-429-2426 Last update: 9/93 -------------------------------------------------------------------- Dave Little Piano and Organ Fremont, CA Contact: Dave Little Tel: 415-792-2626 (also 415-796-2626?) Comments: Sells new & used B-3's; also service, parts? Last update: '92 -------------------------------------------------------------------- ELEC-TECH-PLUS 1906 Moulton Ave. N. Muskegon, MI 49445 Tel: (616) 744-2197 E-mail: JHouse232@aol.com Contact: Jerry Houseman Comments: Technician of all electronic organs, including Hammonds Last update: 4/96 -------------------------------------------------------------------- Electro Organ Service 4055 Cinnabar Dr. Eagan, MN 55122 Tel: 612-454-1131 Contact: Jim Bensen Comments: Hammond & Leslie repair, parts, service. Also, stock and sell Jensen P15LLs, C15Ls, and Jensen V21s both reconed and non-reconed. Advertise the "largest stock of Jensens in the USA". Last update: 2/96 -------------------------------------------------------------------- Electronic Instrument Service 4345 Detroit Avenue Oakland, CA Tel: 510-530-0112 FAX: 510-530-3228 E-mail: bobs@dnai.com Contact: Bob Schleicher Comments: Repair, restore, rebuild, modify, buy and sell Hammonds and Leslies since 1968. Also make custom Leslie connectors to attach almost any model to any organ. Clients include Gregg Rollie, Booker T. Jones, Sean Hopper, Greg Allman and others. Last update: 12/95 -------------------------------------------------------------------- Electronic Keyboard Service, Inc. 406 Taylor Ave. Annapolis, Maryland 21401 Tel: (301) 858-6050 E-mail: jogle@CapAccess.org Contact: The Organ Grinder, John Ogle Comments: Service electronic organs, most makes and models since 1968. Covers Baltimore and Washington DC,and most of Maryland and Virginia. Last update: 12/95 -------------------------------------------------------------------- Enrick Company 150 East 1st Street Zumbrota, MN 55992-1522 Tel: (507) 732-5215 Fax: (507) 625-6570 Contact: Steve Comments: Manufacturer of Roll-or-Kari, a two piece hardwood dolly with straps that allow the easy rolling and carrying of an organ or piano. Two wheels on each side retract with a cam-action foot lever. Once the two halves are strapped together, the organ can be rolled or picked up by four handles that fold down when not in use. Last update: 6/96 -------------------------------------------------------------------- Girardot Organ Service Gold Hill, Oregon Tel: (503) 582-1392 E-mail: girardot@cdsnet.net Comments: Service of Hammonds & Leslies since 1955 Last update: 9/95 -------------------------------------------------------------------- Gospel Electronics Albany, NY Contact: Sarge Comments: Hammond case parts fabricated Last update: 4/96 -------------------------------------------------------------------- GOFF Professional 175H Costello Road Newington, CT 06111 Tel: (860) 667-2358 Fax: (860) 667-3523 E-mail: organs@goffprof.com Web: http://www.goffprof.com Comments: Restores and modifies both vintage and modern Hammonds and Leslies, sells parts, repair kits, upgrade kits for vintage gear. Also sells updated manuals for vintage gear with corrections and extra info not in the original manuals. Tech for many major touring acts. Last update: 6/96 -------------------------------------------------------------------- Hammond Suzuki USA 733 Annoreno Drive Addison, IL 60101-4315 Tel: 708-543-0277 Fax: 708-543-0279 Voice Mail: 1-800-878-1484 Contact: Ray Gerlich, tech support Comments: Current manufacturer of new Hammond organs and Leslies, including the Hammond XB-2, XB-3, XC-3 and others. Last update: 12/95 -------------------------------------------------------------------- Richard Haymon Organ and Amplifier Repair 110 Riverview, Ave. Middletown, R.I. 02842 Tel: (401)846-9563 E-mail: b3haven@wsii.com Comments: Service and sales of Hammonds and Leslies, also specialize in repair of tube based amps. Custom work includes MIDIfying Hammonds, cut-downs, beefing up Leslies, etc. Can supply tech support online. Last update: 7/96 -------------------------------------------------------------------- International Components Corporation 105 Maxess Rd. Melville, NY 11747 Tel:1-800-645-9154, 516-293-1500 Fax: 516-293-4983 Comments: Dealers of over 2000 types of vacuum tubes for all applications Last update: 8/95 -------------------------------------------------------------------- Keyboard Engineering Inc. 4160 NE Sandy Blvd. Portland, OR 97212 Tel: 1-800-321-3742 FAX: 503-284-4856 Contact: Chuck Cordier E-mail: SlimTwo@aol.com Last update: 9/95 -------------------------------------------------------------------- Keyboard Exchange International (a.k.a. B-3 World) 8651 Portside Ct. Orlando, FL 32817 Tel: 407-671-0730 FAX: 407-671-2272 E-mail: B3World@aol.com Comments: Refurbish B-3's, buy & sell Hammonds & Leslies. Nationwide pickup of B-3's, C-3's, A-100's and 122, 147, 145 Leslies; finder fees paid. Last update: 1/96 -------------------------------------------------------------------- Keyboard Products 10950 Tuxford St. Sun Valley, CA 91352 Tel: 818-504-9931 Contact: Bill Beer Comments: Buys, sells, restores and modifies Hammonds and Leslies. Last update: 9/92 -------------------------------------------------------------------- Keyboard Rebuilders 3454 Morning Glory Avenue Baton Rouge, LA 70808 Tel: 504-343-2369 Comments: Restores and modifies Hammonds and Leslies. Supplies reproduction B-3 cases and parts, benches, pedals. Supplies reproduction Leslie cases and moldings. Has a portable B-3 with minimum size Leslie case. Last update: 1/95 -------------------------------------------------------------------- Keyboard Service P.O. Box 41481 Charleston, SC 29423-1481 Tel: 803-696-5397 E-mail: kn4im@worldnet.att.net Comments: In-shop and on-site repairs of any make/model/year electronic organ, electronic piano or keyboard. Last update: 12/95 -------------------------------------------------------------------- Keyboard Specialties 775 50th Ave N. St. Petersburg, FL 33703 Tel: 813-528-1813 Comments: Restore/refurbish A-100/B-3/C-3 Hammond organs and tube-type Leslie speakers. Products include proprietary custom upgraded/modified B-3's [Superstock(tm)], proprietary velocity sensitive MIDI systems for the B-3 [MIDI-B(tm)], and B-3's in high quality custom designed portable cases. Professional tour support, B-3/Leslie rentals, authorized Trek and Hammond-Suzuki dealer. Last update: 7/96 -------------------------------------------------------------------- Keyboard Studio 304 N. Maple Street, #203 Urbana, IL 61801 Contact:Gordon Wilson, Owner Tel: (217) 328-3975, (800) 821-1197 FAX: (217) 328-3983 E-mail: gwilson@prairienet.org Comments: Works on new and old Hammonds, Leslies, and other modern digital keyboards Last update: 9/95 -------------------------------------------------------------------- Keyboard Systems 3637 East 7800 South Salt Lake City, UT 84121 Tel: 801-943-7888 Fax: 801-943-7889 E-mail: KeyboardSystems@sisna.com Web: http://www.tweb.com/KeyboardSystems/ Comments: Maker of "MIDI-PLUS MIDI Retro Kits" MIDI retrofit kits for DC keyed or audio keyed organs. Source for all pre-1985 Lowrey parts and manuals, "Electronic Cross Reference Master" software, ICs, transistors, tubes and Top Octave (TOS) chips. Last update: 6/96 -------------------------------------------------------------------- Klos Associates Edison, NJ 08817 Tel:(908) 985-4376 E-mail: Ray4376@aol.com Comments: Repair (New Jersey only) of Hammond organs, Leslies, Farfisas, Wurlitzer electric pianos, tube amps, most other keyboards and amps. Used Leslies, Farfisas, etc., for sale. Last update: 9/95 -------------------------------------------------------------------- MANUALS PO Box 220 Yarmouth Port, MA 02675 E-mail: manuals@unix.ccsnet.com Comments: High quality photostats of vintage Hammond organ manuals with full size schematics (not reductions). Last update: 10/95 -------------------------------------------------------------------- M&S Organ Service Chicago Avenue Chicago, IL Comments: Used Hammonds, Leslies, etc. Last update: -------------------------------------------------------------------- MCM Electronics Dayton, Ohio Tel: US:800-543-4330, Canada:800-824-9491 Comments: Supplier of tubes for old Hammonds, Leslies, etc. Last update: 3/95 -------------------------------------------------------------------- Maryland Organ Service 7 Deer Pass Ct. Cockeysville, MD 21030 Tel: (410) 666-2264 Contact: Ted Thompson E-mail: tthompsn@mail.bcpl.lib.md.us Web: http://www.bcpl.lib.md.us/~tthompsn Comments: Service of vintage Hammonds, Leslies, Leslie rebuilding, parts available for vintage gear. Also do work on other brands. Last update: 4/96 -------------------------------------------------------------------- Matthews, Dave 95 E. Griffith Way Fresno, CA 93704 Tel: 209-222-4120 or 408-279-8233 Comments: Restores and modifies Hammonds and Leslies. Last update: 9/92 -------------------------------------------------------------------- McAdoo Piano & Organ Co. Ltd. 1365 Midland Ave. Kingston, Ontario K7L 4W5 Tel: (800) 267-2237, (613) 384-2600 Also located at: 346 North Front St. Belleville, Ontario K8P 3C7 Tel: (613) 966-5001 Comments: Buy/sell/service new and used Hammonds, parts. Dealer of Hammond and Allen. Last update: 5/96 -------------------------------------------------------------------- Mcintyre Organ Repair Center 11782 Sand Point Way NE Seattle WA Tel:206-364-3615 Last update: 9/95 -------------------------------------------------------------------- Meiner's Music 4274 El Cajon Boulevard San Diego, CA Tel: 619-280-2075 Comments: Rebuilding/repairing old Hammond organs. Last update: 12/94 -------------------------------------------------------------------- Melody Organ Service 3604 S. Foltz Indianapolis, IN 46241 Contact: Walter Derr Tel: 317-247-1729 Comments: Works on most electronic organs and Leslies, including Hammond, Wurlitzer, Conn, Baldwin, Kimball, Lowrey, Thomas. Buys and salvages older organs for refurbishing and resale. Currently has several old tone cabinets and many obscure parts. Last update: 5/95 -------------------------------------------------------------------- Numerous Complaints Music 1537-B Howell Mill Road Atlanta, Georgia 30318 Tel: 404-351-4422 Fax: 404-351-4442 E-mail: complain@mindspring.com Comments: Full service vintage keyboard dealer specializing in vintage and new Hammonds, parts and accessories, Voce, and Motion Sound. Also service Wurlitzer Elec pianos, Rhodes, and Clavinets. Last update: 6/96 -------------------------------------------------------------------- Organ Doctors 5318 N. High Street Columbus, OH 43214 Tel: 614-548-6224 Comments: Restores and modifies Hammonds and Leslies. Last update: 9/92 -------------------------------------------------------------------- Organ Service Company of New Jersey 2229 Morris Avenue Union, NJ 07083 Tel: 908-735-7552 Comments: Restores and modifies Hammonds; restores Leslies. Last update: 4/96 -------------------------------------------------------------------- Organ Service Company Inc. 6475 Joliet Road, Suite B1 - West La Grange, IL 60525 Tel: 708-352-8011 Fax: 708-482-9626 E-mail: jjwelch@TheRamp.net Web: http://www.tweb.com/MITA/hammond Comments: Excellent source of Service, parts and Technical/Owners Manuals for pre-1986 Hammonds and Leslies. Last update: 5/96 -------------------------------------------------------------------- Oz Keyboard Services 33 Joseph Court San Rafael, CA 94903 Contact: Les Reidenberg, owner Tel: (ofc) 415-459-7854, (shop) 415-472-7854 Comments: Leslie rebuilds, quick, excellent quality. Last update: '94 -------------------------------------------------------------------- Pacer Electronics 2537 River Road. Number 3 Jefferson, LA 70121 Contact:Peter Gorey Tel:(504) 899-8922 Comments: Builder of cases for chopped organs, as well as Hammond/Leslie repair. Many well known pro's among Peter's clientelle. Last update: 4/96 -------------------------------------------------------------------- Paul's Electronics Portland, Oregon Contact:Allen Beck (between 7-11 am) Tel:(503) 239-8467 Comments: Allen does highly reputable service and modifications of vintage Hammonds and Leslies Last update: 9/95 -------------------------------------------------------------------- Ray Prince Toronto, Canada Tel:(416) 921-5289. Comments: Hammond tech/repair person Last update: 4/95 -------------------------------------------------------------------- Resurrection Electronics 3504 King St. Austin, Texas 78705 Tel: (512) 451-5900 Fax: (512) 323-5152 Contact: Bob Overton E-mail: bobo@bga.com Comments: sell, rebuild, and stock parts for the Korg CX-3, also do work on Leslies. Last update: 4/96 -------------------------------------------------------------------- Ronald N. Richards Electronic Organ Service Lowell, Massachusetts Tel: (508) 453-4382 E-mail: ronrich@tiac.net Web: http://www.tiac.net/users/ronrich Comments: Repair most organ models. Has collection of parts, travels through most of New England for service work. Last update: 1/96 -------------------------------------------------------------------- Schneider Organ Service 607 Larch Ave. La Crescent, MN 55947 Tel: (507) 895-2702 Fax: (507) 895-2702 Contact: John Schneider E-mail: jschneider@centuryinter.net Comments: MITA member. Hammond certified technician July, 1974. Service on most makes and models of electronic organs since 1961. Last update: 5/96 -------------------------------------------------------------------- Superior Organ Service San Francisco, CA Contact: Rolf Hoseman Tel: (415) 626-4324 Fax: (415) 626-4324 E-mail: rolfho@hotmail.com Comments: Hammond & Leslie repairs, modifications and parts. Service of Hammonds since 1965. Last update: 2/96 -------------------------------------------------------------------- Trek II Products Contact: Michael Smokowicz Tel: 908-214-9200 Fax: 908-214-9257 E-mail: TrekII@skyweb.net Web: http://www.tweb.com/MITA/trek Comments: Products related to Hammond tone-wheel organs, such as percussion units, leslie connectors and pre-amps, etc. Last update: 4/96 -------------------------------------------------------------------- Vintage Tube Amp Service Seattle WA Contact: T. Warren Tel:(206)783-8376 Comment: Not specializing in Leslie amps but has done successful repair work on them if you have a schematic. Last update: 9/95 -------------------------------------------------------------------- Voce Inc. 62 Bergen Turnpike Ridgefield Park, NJ 07660 Tel: 201-807-0545 Fax: 201-807-0879 E-mail: dave.amels@sfnet.com Comments: Manufacturers of the V3 & Micro B II organ modules, Spin rotating speaker simulator, and Electric Piano additive synthesis electric piano module. Last update: 9/95 -------------------------------------------------------------------- We're Your Connection 33 Elm Street Manchester, NH 03101 Contact: Daniel Gelinas, owner Tel: 603-669-7260 E-mail: Dan777@wyc.mv.com Comments: Mail/local dealers and service of new/used Hammond/Leslie gear (affiliated w/ House of Gelinas, New England Keyboard Kingdom). Last update: 12/94 -------------------------------------------------------------------- John Wolff Organ Service 97 Courcellette Rd. Scarborough, Ontario Tel: (416) 691-6013 E-mail: pyramid@interlog.com Comments: Service to all makes of organs/keyboards, including Hammond organs and Leslies. 25 years experience in organ service, formerly service manager at Wurlitzer & Long & McQuade. Last update: 7/96 -------------------------------------------------------------------- Young Music Co. 1115 S Jupiter Garland, TX 75042 Contact: Tommy Young Tel: (214) 272-2551 Comments: Hammond Organs, Leslie Speakers, Grand Pianos Keyboards, P.A. & Wireless Systems Sales, Rentals, Service Last update: 5/95 ------------------------------------------------------------------------- United Kingdom ------------------------------------------------------------------------- Clive Botterill - Hammond Service (UK) 2 Pine Grove, St Albans, Herts Tel: 01923 675782 Comments: S/H Hammonds, Leslies, Service, Parts, Hire Last update: 5/95 -------------------------------------------------------------------- Tiny Evans - Octavo Music London Tel: 0171 226 5795 Comments: Hammonds/Leslies for hire Last update: 5/95 -------------------------------------------------------------------- Paul Fletcher - Northern Organ Centre 7 Shadwell Park Court, Slaid Hill, Leeds LS17 8TS Tel: 0113 266 7034 Fax: 0113 268 4799 Comments: S/H Hammonds, Leslies, Service, Hire Last update: 2/96 -------------------------------------------------------------------- Dave Major Well-known London-based Hammond tech, No details available Last update: 5/95 -------------------------------------------------------------------- NSSC - The Northern Synthesizer Service Centre 153 Sunbridge Road, Bradford, BD1 2NU, England Tel: +44 (0) 1274 777 007 Fax: +44 (0) 1274 777 300 E-mail: trevor.learoyd@geo2.poptel.org.uk Comments: Hammond/Leslie repair shop since the 1960's. Last update: 5/96 -------------------------------------------------------------------- Bevis Peters 46 Harley Str London UK Tel: 0171 436 8732 E-mail: bevis@apg.ph.ucl.ac.uk, ucapbpe@ucl.ac.uk Comments: Repairs / buys / sells / plays tonewheel Hammonds and Leslies in the UK. Last update: 5/95 -------------------------------------------------------------------- PM Components Location unknown Tel: 01474 560521 Comments: Useful source of valves Last update: 5/95 -------------------------------------------------------------------- Sensible Music London Tel: 0171 700 6655 Comments: Hammonds/Leslies for hire Last update: 5/95 -------------------------------------------------------------------- Graham Sutton - Professional Keyboards Tel/Fax: 1908 502425 mobile 0836 591268 114 Flavell Drive, Furzton, Milton Keynes, MK4 1AJ Comments: S/H Hammonds, Leslies, Service, Parts, Hire Last update: 10/96 ------------------------------------------------------------------------- European Continent ------------------------------------------------------------------------- Hammond Times, Thomas Schneider Staffelstrasse 8 CH-8045 Zuerich Switzerland Tel: +41 1 281 17 18 Fax: +41 1 281 02 18 Comments: Hammond Technician, also parts and service for new and old Hammonds. Last update: 2/96 -------------------------------------------------------------------- Musik-Bertram D-79011 Freiburg Postfach 1153 Germany Tel: +49 (761) 27-30-90 Comments: Hammond dealer, builder of MIDI-Kit for Bass Pedals. Last update: 12/94 -------------------------------------------------------------------- Organ Planet s.r.l. Lissone (Mi) Tel: ++39 465274 Fax: ++39 2459698 Comments: Hammonds, Leslies, Spare parts, and some portable versions based on L100 / M100 / B3 / C3 / A100, flight cases and other. Last update: 4/96 -------------------------------------------------------------------- Organ Studio 548 Via Piacenza I-16043 Chiavari GE (Genova, Italy) Fax: (0)185-308577 (English written...) Tel: (0)185-321560 (English spoken) Comments: Manufacturer of 2 piece chopped modified high powered leslies, chopped 2 piece B-3's, and a spring reverb kit with a tube pre-amp in it. Last update: 4/96 ------------------------------------------------------------------------- Scadinavia ------------------------------------------------------------------------- Lauritz Arntzen (Norway) Post box 152 9801 Vadsx Norway Tel: 78952646 E-mail: lauritza@barentsnett.no Comments: Source of HAMMOND and LESLIE valves (tubes). Minor repairs on A100/B3/C3 and valve Leslies. Last update: 10/96 -------------------------------------------------------------------- Pan Studios (Norway) Valstadsvingen 2 Box 77, 2013 SKJETTEN, Norway Tel: -47-63 84 33 30 Fax: -47-63 84 49 70 E-mail: pan@powertech.no Comments: Sales, Service, and rental of Hammonds & Leslies. Last update: 3/96 -------------------------------------------------------------------- Davenport Musik (Sweden) Fiolstraket 9 903 53 UMEA, SWEDEN Contact: Brian Davenport Tel: +46 (0)90-125112 Comments: Restorations and custom projects. Swedish magazine "MM" claims he just finished a custom M100 for Roxette. Last update: 11/95 -------------------------------------------------------------------- Pianoverkstaden Krykonvagen 1 S-80636 GAVLE, Sweden Contact:Bill Miles Tel: +46 (0)26-108788 Comments: restores/repaires Hammond & Leslies, pianos etc. Last update: 12/95 -------------------------------------------------------------------- Sjostrand Musik Electronics Paternostervagen 23 S-12149 Johanneshov Sthlm Sweden Contact:Malte Sjvstrand Tel: +46 (0)8-6595040 Comments: restores/repaires Hammond & Leslies, amplifiers, etc. Last update: 12/95 -------------------------------------------------------------------- Torbjorn Solberg (private tech) Sweden (Varmland) Tel: +46 (0)570-83446 Last update: 12/95 ------------------------------------------------------------------------- Australia ------------------------------------------------------------------------- Keith Humbley Sydney, Australia Tel: +61 2 610 4151 Comments: Vinatge Hammond and Leslie service Last update: 9/95 ------------------------------------------------------------------------- Japan ------------------------------------------------------------------------- Urban Music 3-35-1 Daita, Setagaya-ku Tokyo 155 Japan Contact: Kazuo Iwase Tel: 81-3-3795-3571 Fax: 81-3-3418-3571 E-mail: urban@interlink.or.jp Comments: Hammond Organs and Leslies: sales, service, restoration, modification, MIDIfication, parts, rentals. Also parts and service for vintage analog synths and keyboards. service Last update: 7/96 ------------------------------------------------------------------------- Appendix F - Send in the clones (Hammond and Leslie simulators) Maintained by Mark Longo (longo@zk3.dec.com) Last updated: 24-June-96 ------------------------------------------------------------------------- Keyboards Hammond-Suzuki XB series: XB-2, XB-3, XC-3, XB-5 (described elsewhere in FAQ) Viscount (or Fujiha) D9 single manual drawbar organ Out Of Production Crumar Organizer Single manual drawbar organ, percussion (c. 1970's) Crumar T1 Single manual (61 note), 1 split, 9 drawbars, percussion, vibrato and tremelo, 4 presets. Crumar T2 Double manuals, two sets of 9 drawbars, one for each manual and one set of 2 drawbars for playing the "lower tone" from the lower manual. Elka X-50 Single manual 9 drawbar organ, 6 non-editable presets, four percussions (2nd, 3rd, 4th, plus octave below 3rd [5 1/3']); Leslie simulator (single rotor); percussion volume, percussion decay, keyclick and overdrive sliders; built in light-duty road case, no MIDI. Korg CX-3 Single manual 9 drawbar organ, adjustable key click, adjustable 2nd/3rd percussion, Leslie simulation, 3 drawbar presets, no MIDI Korg BX-3 Double manual drawbar organ, 9 drawbars per manual, 3 static presets, adjustable key click, v1-3/C1-3, adjustable 2nd/3rd percussion, leslie simulation Rhodes (Roland) VK-1000 Single manual drawbar organ, fully programmable, key click, vibrato/chorus, percussion, Leslie simulation Roland VK-09 Five octave single manual drawbar organ, selectable sine/square wave, envelope shaping, key click, vibrato/chorus, percussion, leslie simulation WLM Organs Made in Finland in late 70's and early 80's, there were 3 models: TRIP, BEAT, & HIT. The organs used solid state analog tone generation with 12 sub-divided oscillators. They were sold primarily in the european market. There is an excellent Web page with more detailed information and images at: http://www.utu.fi/~juhpalmu/wlm.htm" TRIP - Combo organ with two 5 octave double manuals. HIT - Two 49-note manuals and a 13-note pedalboard. 9 drawbars and 7 percussion drawbars for the upper manual, 6 drawbars for the lower manual, 4 drawbars for the pedals. Variable percussion attack and sustain. Pedal attack and sustain. Vibrato. Spring-line reverb. 7 presets. Lightweight (60kg, 132lbs) it folded into a plywood, aluminum edged, road case which also served as a stand, a very elegant design from the pictures of it on the Web page. BEAT - A home model similar to the HIT that was available in 4 & 5 octave double manual versions, 13 note pedal board, and added a simple rhythm machine and a built-in amplifier and rotating speaker system. Yamaha SK-15 Four octave single manual synth w/ 5 drawbars/sliders, 3 organ presets, percussion, key click, chorus/vibrato, string section, synth section, keyboard splits, Leslie simulation, no MIDI Yamaha SK-20 Same features as the of SK-15 except with 5 octave manual, 7 drawbars/sliders, 11-pin Leslie connector -------------------------------------------------------------------- Modules Oberheim OB-3 re-labeling of the Viscount D-9e (see below) Oberheim OB-3 Squared New model manufactured by Oberheim. Very similar to the OB-3 in form and function but with three MIDI channels (enables use of two keyboards and a set of MIDI foot pedals foot pedals), controllable percussion, and reportedly improved sound. Peavey Spectrum single rack space module, 32 voices, 4 part multi-timbral, reverb, Leslie simulation, vibrato/chorus overdrive, speaker simulation, 128 ROM presets, 4 waves respond to MIDI drawbars, MIDI program changes, 16 bit wavetable sample synthesis. No percussion control. Viscount (or Fujiha) D-9e Table top (keyboard top) realtime drawbar module version of the D9 keyboard, MIDI control, 1 MIDI channel, percussion, key click, adjustable overdrive, vibrato and Leslie simulation, 5 registration presets. Voce Micro-B II Half space rack module, 36 drawbar presets, adjustable key click, v1-3/C1-3, adjustable 2nd/3rd percussion, adjustable overdrive, Leslie simulation, complete MIDI control Voce V3 Single rack space module, realtime MIDI control of drawbar settings, drawbars detuned to equally tempered scale (like the B3), programmable key click, v1-3/C1-3, programmable 2nd/3rd percussion, programmable overdrive, Leslie simulation, effects loop, EQ, patch storage, complete MIDI control Out Of Production Voce Micro-B (out of production) Half space rack module, 36 drawbar presets, adjustable key click, v1-3/C1-3, adjustable 2nd/3rd percussion, adjustable overdrive, Leslie simulation, limited MIDI control Voce DMI-64 Mark II (out of production) Single space rack module, programmable -------------------------------------------------------------------- Electronic Leslie Simulators Digitech RPM-1 Single rack space analog/digital hybrid effect, 12AX7 tube pre-amp w/ overdrive, no MIDI, dual rotor, knobs for overdrive, speed, balance, mic spread. For more information see: http://www.digitech.com/rpm1.html A review of the RPM-1 is contained in the Hammond/Leslie FAQ at: http://ddi.digital.n et/~bbaker/files/rpm1review.html Dynacord DLS 223 Single rack space digital effect with reverb and distortion, dual rotors, MIDI control. Dynacord DLS 300 Software upgraded version of the DLS 223 for "improved rotor structures". Electro-Voice FX-70 repackaging of the Dynacord DLS 300 Korg G4 Oversized stomp box, dual rotors, knobs for volume, distortion, speed, acceleration, mic distance and spread, for foot switches for distortion, speed, stop, and bypass. Rolls Rotorhorn Single rack space, limited MIDI control Voce SPIN Half rack space analog effect, MIDI control, dual rotor, many pre-sets, knobs for volume, balance, overdrive, MIDI channel, and preset select. Rotovibe & Uni-vibe - by Jim Dunlop Electronics Single-rotor Leslie simulator; foot pedal (volume type) speed control (no fast/slow switch); depth control. For more information see: http://www.jimdunlop.com/wahs.htm Out Of Production Avalanche Effects Brianizer Stomp box, dual rotor, adjustable speed and accel/decel rates, leslie/on/off, studio/stage settings Dynacord CLS 222 Single rack space analog effect, dual rotors out of production 1993 Multivox LD-2 (a.k.a. Little David) One of the first Leslie simulators, packaged as a 10" high replica of a 122, non-mechanical, made briefly in the 1970's. -------------------------------------------------------------------- Mechanical Leslie Simulators/Clones Motion Sound PRO-3 The PRO-3 uses a rotating treble horn and a titanium driver in tandem with a stereo/mono bass rotor simulation signal output through 1/4" front panel jacks. You feed an organ signal to PRO-3's 1/4" mono input, and patch the PRO-3 low frequency output signal to a keyboard amplifier. The PRO-3's rotating horn characteristics are modeled on the Leslie 147. The PRO-3 dimensions are 6.5" x 20" x 16.5" and it weighs 26 Lbs. The front panel is vertically centered on the left third of the unit front. Two rails run along the bottom from front to back and are designed to straddle the handle of a keyboard amp. The horn compartment is vented so that about 60% of the sound comes through the front and 40% through the rear and sides, simulating a 147 horn with the back off and turned around. The horn amplifier is 30 watts RMS with .3% distortion, and is very loud. For more information see: http://www.goffprof.com/pro3cat.html A review of the PRO-3 is contained in the Hammond/Leslie FAQ at: http://ddi.digital.n et/~bbaker/files/pro3review.html Motion Sound R3-147 The R3-147 Rack Mount System is effectively a fully sealed and acoustically isolated unit containing a PRO-3 with internal microphones and a 12AX7 tube pre-amp. The extensive front panel gives the user control over treble rotor speed and accel/decel rates, bass rotor simulator speed and accel/decel rates, control of AM and FM components and open/closed bass cabinet simulations in the bass rotor simulator. Left and right microphone controls allow for close/distant mic'ing variations and treble/bass rotor balance controls tailor the mix of high and low frequency sound. Rotor fast/slow/stop can be controlled either via MIDI or through a provided footswitch. Out Of Production Dynacord DC200 The DC200 is a combo amp with treble and bass rotors packaged in separate enclosures. The treble enclosure is 63cm(25")W x 53cm(21")D x 35cm(14")H. The lower enclosure has the same width and depth and is 79cm(31")h. Stacked height is 114cm(45"). The upper enclosure contains the familiar pair of rotating horns (one is a counter balance only) and is open on all four sides. The lower enclosure contains a 15" speaker firing downward into a rotating drum and open in the front only. The unit is trademarked as the "Spacesound System". The DC200 uses a 200 watt amplifier with separate volume controls for the treble and bass rotors and a common set of bass and treble knobs. Dynacord is a German company but most of the components are manufactured in Italy. It is not know if the DC200 was offered to the North American market. Echolette ME II This unit appears to be a close relative to or copy of the Dynacord DC200. Solton Two-box vinyl cabinet; upper a horn system like the PRO-3; lower a drum system, including a small forward-facing horn. Amp included a small mixer, and it looked like the rig could be used for additional instruments independently of the whirly sound. A European manufactured unit, it's not know if it was ever sold in the US. MS-Audiotron Apparently this was a speaker-only unit, about 2' tall with treble rotor and a statically mounted bass speaker. A Eurpopean manufactured unit, it's not know if it was ever sold in the US. ------------------------------------------------------------------------- Appendix G - Equipment Reviews, Schematics and Other Files (these are available only on-line) ------------------------------------------------------------------------- Equipment Reviews Leslie 302 A smaller Leslie with a conventional treble horn, 12" speaker, and electronic bass rotor simulation (by Mark Longo). Blue Tube from Tubeworks. The Blue Tube is a rackmount device used for tube generated overdrive and distortion type effects (by Mark Longo). PRO-3 from Motion Sound. The PRO-3 uses a compression driven rotating treble horn and provides an electronic bass rotor simulation signal for your bass amplification system. (by Mark Longo). RPM-1 from Digitech. The RPM-1 is a single rack space Leslie simulator (by Bruce Wahler). Results of the Hammond Clone Wars. The results are in! List members tallied the score as the clones did battle. The top B-3 clones were pitted against each other and a Goff-prepared B-3. Both dedicated and clone-internal Leslie simulators were tested using a Goff-prepared 122 as a reference. (by Mark Longo.) V-3 from Voce. The V-3 is a single rack space Hammond organ simulator. It also has an internal Leslie simulator (by Bruce Wahler). Hammond-Suzuki XB2 ROM Upgrade. This ROM upgrade provides a substantial functional performance enhancement (by Mark Longo). Schematics b3-ps.zip (175k) B3/C3 schematics (8.5" x 11" Postscript) b3sch-a.ps - ver 1.0, B3/C3 schematic diagram. b3wir-a.ps - ver B, B3/C3 wiring diagram. b3pre-a.ps - ver 1.0, B3 preamp, AO-28 les-ps.zip (54k) 122 and 145 Leslie main and reverb amplifiers (8.5" x 11" Postscript) 122mn-a.ps - 122 Leslie main amplifier schematic, ver 1.1. 122vb-a.ps - 122 Leslie reverb amplifier schematic, ver 1.0. 145mn-a.ps - 145 Leslie main amplifier schematic, ver 1.1. 145vb-a.ps - 145 Leslie reverb amplifier schematic, ver 1.0. 22h.gif (15k) 22H Leslie schematic (contributed by Theodore Thompson tthompsn@mail.bcpl.lib.md.us) Frequency Response Plots - 8.5" x 11" Postscript pre-resp.zip (5.6k) Hammond B3 Preamp - Measured w/47k ohm source impedance. les-resp.zip (1.5k) 145 Leslie amplifier - w/16 ohm resistive load. ------------------------------------------------------------------------- Use Ghostscript, Ghostview & GSview to view the PostScript files ------------------------------------------------------------------------- Appendix H - Digests from the Hammond Mailing List (these are available only on-line) -------------------------------------------------------------------------

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