Hammond Model A User manual

ASHORT DESCRIPTION OF THE

ELECTRICAL PRINCIPLES AND

TONAL COMBINATIONS OF A

NEW MUSICAL INSTRUMENT

WORLD PATENTED

INDEX TO CONTENTS

Chorus Generator

Diapason Tone Quality

Electrical Principle

Flute Tone Quality

Generator.

Harmonic Controller

Harmonic Controller, Pedal

Organ

Harmonic Controls, Black and

White

Harmonic Controls, Brown

Harmonic’s Seventh

Pipe Organ Mixtures

Pipe Organ Stops

Preset Keys

Preset Pistons (Model E)

Reed Tone Quality

String Tone Quality

Super and Sub-Octave

“Coupler” Effects

Page

8,16

18,19

8,16

9,16,17

8,16

Swell Pedals

Toe Pistons (Model E)

Tone Colours

Tone Colour Combinations

Tone Families

Tone Wheel

Tremulant

ILLUSTRATIONS

AND DIAGRAMS

The Hammond Organ

Plan of Console

Harmonic Controller

Pre-set Pistons (Model E)

Graphs and Wave Patterns

Synchronous Motor and Gen-

erator Kit

Page

16, 17

OUTSTANDING FEATURES

It has the full range of organ tone colours.

Its range of expression is many times greater

than that of other organs.

It occupies only a few square feet of floor

space.

It is ready to play wherever there is an electric

outlet.

It cannot get out of tune, having no reeds nor

pipes.

It is not affected by atmospheric or

temperature conditions.

Its maintenance is negligible.

The standard installation uses about as much

current as four ordinary light bulbs.

Its response and repetition are instantaneous-

no lag.

It is a beautiful piece of furniture.

It is easily moved,

It is fully guaranteed.

It is made by a well-established organization

with a world-wide reputation for precision

in manufacturing.

Its price is but a fraction of that which any

instrument at all comparable would cost.

But, after all, there is no comparable instru-

ment.

Norgan that is without pipes or wind may well

indeed be called a new instrument.

The Hammond Organ, here pictured and described,

is not merely new; it represents in itself a revolution

so far-reaching as to be quite incalculable. New chapters

in our social history were opened when, two or three

generations ago, the telephone and the typewriter

arrived on the scene There can be no doubt whatever

that the advent of this new instrument must have an

equally startling significance in the world of music

Science and the laws of dynamics have been so harnessed

to the inventor's will that he has created an instrument

eminently suitable for the drawing room yet, when

occasion demands, powerful enough to fill a Cathedral

with a tone of great nobility and sweetness It is

remarkably adoptable for installation purposes The

minimum floor space which it needs never exceeds four

or five feet square

The actual "Furniture" of the instrument consists of

but two pieces the console and the power cabinet, which

is connected to the console by a cable and can be placed

in any convenient part of a room or building. The

number of cabinets may be multiplied for

large buildings, as required.

Page Three

CHAPTER I

TH E T O N A L C O N T R O L S O F

THETHE HAMMOND ORGANHAMMOND ORGAN

XCEPT where otherwise mentioned, the following

descriptions apply equally to every model of the

Hammond Organ.

Each of the three models, A, B and E, is ideally suitable for its particular

purpose. Models A and B will give every satisfaction in the small church

or auditorium or in the home. There is hardly a limit to the scope of

music which can be played on either of these two instruments.

Model E console represents the ultimate in organ design and can be

termed a professional organist's instrument. Whilst being perfectly

suitable for use in the home or in the smallest or largest building, it is so

equipped that every description of organ literature may be played with a

wealth of dynamic interpretation hitherto unthought of.

It is designed on more ecclesiastical lines than the others, so as to better

harmonise with church appointments. Massive in appearance, it is nearly

as portable as Model B.

GENERAL ARRANGEMENT.

Figure 1 shows the various controls marked. The pre-set keys are at

the left-hand end of each manual. The tremulant control is located just

above the pre-set keys. Immediately over the upper manual are five

groups of controls.

There are two groups of harmonic controls of nine draw-bars each, on

the left-hand side; these operate on the upper manual. The two groups

of nine harmonic controls on the right operate on the lower manual.

Between these groups are two other harmonic controls; these operate

on the pedals.

THE PRE-SET KEYS , Models A and B Consoles (Figure 1).

At the left end of each manual is an additional octave of reverse colour

keys-that is, the naturals are black and the sharps white. These

are the pre-set keys. Those to the left of the lower manual are associated

with that manual, those above with the upper manual.

When a pre-set key is depressed it stays down. When a second key on

the same manual is depressed the first key springs up and the second remains

down. Up, the pre-set key is "off"--not functioning. Depressed,

it is “on.” Only one pre-set key should be depressed on the same manual

at one time.

The key at the extreme left, C, is the cancel key, used only to clear the

pre-set keys when two have been depressed by mistake.

Page Five

FIGURE 1. PLAN OF CONSOLE (Model A)

FIGURE 1a.

Model E Console. Manual Pre-set Pistons.

Pedal Piston Indicators. Tremulant Levers

FIGURE 1b.

Expression Pedal Indicators. Chorus

Control. Starting and Running Switches.

FIGURE 2. A HARMONIC CONTROLLER

Page Six

The two pre-set keys at the extreme right, A# and B, are really switch

keys. when A# is depressed the organ speaks with whatever tone Colour

is set up on the left one of the two harmonic controllers for that manual.

When B is depressed the organ speaks according to the right hand con-

troller for that manual.

The intervening pre-set keys, C# to A inclusive, are each associated with

adifferent ready-mixed tone quality set up before the organ is installed.

These keys correspond to the pistons on a pipe organ. They are generally

useful tone qualities. The artist may, however, substitute any other

pre-set quality he prefers for any or all of them by a simple method fully

explained in the operating instructions.

The tone of the organ is changed from one quality to another while playing,

merely by depressing another pre-set key.

The two manuals are really duplicates of each other, each having its own

pre-set keys and two harmonic controllers.

It should be clear from the above that, before playing, the organist must

first depress one of the pre-set keys associated with the manual on which

he is about to play.

THE PRE-SET PISTONS , Model E Console (Figure la)

On the Model E Console, small pistons (numbered 0 to 11) are employed,

instead of the reverse colour keys. A label against each piston indicates

the tone quality associated with it. The piston marked "0" is the cancel

key and Nos. 10 and 11 are available for any tone qualities that may

appeal to the organist by manipulation of the drawbars as explained

below.

THE HARMONIC CONTROLLER (Figure 2).

The Harmonic Controller is the device by which the artist is enabled to

mix the fundamental and any or all of 8 different harmonics in various

proportions. It consists of 9 drawbars. The third drawbar from the

left controls the fundamental. Each of the other drawbars controls a

separate harmonic as shown on the diagram. Each drawbar may be set

at any one of 9 different positions. If pushed all the way in, against

the console, the element it represents is not present in the mixture. It

may be drawn out to 8 different positions. These are marked on the

drawbar and may be read by the artist. Each position represents a different

degree of intensity of the element it controls. When drawn out to position

1, the element it represents will be present in the mixture with minimum

intensity, when drawn out to position 2, with greater intensity, and so on,

up to position 8.

Atone colour is logged by noting the numerical position of the various

drawbars. For instance, the tone set up in the diagram (Figure 2) is known

as tone 23,6444,222. After a tone is so logged it may be made available

again by setting up the harmonic controller to that number.

TONE FAMILIES.

In order to make full use of the Hammond method of tone composition,

the artist should understand the general characteristics of the various

tone families.

The four principal families of organ tones are Flute, Diapason, String

and Reed.

Page Seven

FLUTE TONE QUALITY.

The flute tone is a comparatively simple tone. Its harmonic development

is concentrated chiefly on the fundamental and second harmonic overtone,

with occasionally the addition of one or two other harmonics. The

relative proportion of these components varies for the different kinds of

flutes.

Combination 00,3500,000 is a quality like that of the pipe organ stop

“ Flute d’amour."

Combination 00,5200,000 is a dopple flute quality.

Combination 00,5310,000 is a melodia quality.

The quality 00,5000,000 is, of course, also very flute-like in its timbre.

It is a pure fundamental tone, however, without harmonic development

and the musician is cautioned against employing it or any other single

fundamental. Its total lack of harmonic development is both unnatural

and unmusical. For a tone to possess character, it must have some har-

monic development, and the player should employ only tone colours con-

taining some such development.

It will be apparent that even in this family, the simplest of the tone families,

there is a large number of variations available to the artist from which he

may choose that particular quality which pleases him most.

DIAPASON TONE QUALITY.

The diapason quality is a foundational tone of the pipe organ. There

are various kinds of diapason qualities. All diapasons have both a strong

fundamental and second harmonic with relatively weak upper harmonic

development. The diapason qualities differ from each other principally

in the number and strength of the upper harmonic overtones.

Combination 00,5521,000 is an example of phonon diapason quality.

Combination 00,5442,420 is an example of violin diapason quality.

In pipe organs, the diapason stops are usually strengthened harmonically

by the addition of mixtures or harmonic corroborating tones. The so-

called Diapason Chorus" consists of several diapason tones, plus a

group of mixture tones.

Combination 24,6777,664 is an example of diapason chorus quality.

Combination 54,6444,222 is an example of such a quality with 16 foot

diapason.

STRING TONE QUALITY.

String quality is characterized by large upper harmonic development.

The fundamental and second harmonic development are relatively small.

Akeen string quality will have very little fundamental and not much second

harmonic. A string quality always has a complete upper harmonic series

present, none of which is unduly strong or weak.

Combination 00,4345,555 is a moderate string quality.

Combination 00,2345,555 is a keen string quality.

Page Eight

Other manuals for Model A

Table of contents

Popular Musical Instrument manuals by other brands

Kawai

Kawai CN17 Operation guide

Yamaha

Yamaha PCY130 owner's manual

Korg

Korg SP-170S owner's manual

Roland

Roland ep-97 owner's manual

Roland

Roland LX-15 Brochure & specs

Johannus

Johannus Rembrandt 200 user manual

Yamaha

Yamaha Clavinova CVP-709 owner's manual

Yamaha

Yamaha YC-20 owner's manual

Yamaha

Yamaha Clavinova CVP-609 Reference manual

Casio

Casio celviano ap-700 user guide

Yamaha

Yamaha PSR-E473 owner's manual

Modulus

Modulus Quantum Series owner's manual

Gear4music

Gear4music SDP-4 user manual

HOMCOM

HOMCOM 390-006 Assembly instruction

Xotic Guitars

Xotic Guitars ProVintage Series owner's manual

Sadowsky

Sadowsky MetroLine Series operating manual

Bosendorfer

Bosendorfer CEUS user manual

Gewa

Gewa UP 260 G owner's manual