wy. their. PRECA. N, 25th Avenue Melrose Park, III, DIVISION OF HAMMOND CORPORATION. HAMMOND ORGAN COMPANY. MODEL. MANUAL. Ask your Hammond dealer about Hammond Concerts. Meet new friends and learn some playing tips by join- ing the local Hammond Organ Society. You'll. Drawbars, often called Tonebars, are the heart and the basis of the renowned Hammond Sound and have been used since the first Hammond Organ Model A.

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    Hammond Organ Pdf

    This Owner's Manual is designed to explain the operating features of this Hammond organ as simply and graphically as possible. Because we want to make this. For 77 years, the Hammond Organ has been the true “King Of Instruments”. by the sound of the Hammond Organ, and as familiar as the sound is, musicians. ORGAN HISTORY. Since , Hammond Organ has been a standard of organ! Direct Analog KeyingTM. A crucial aspect of the performance of the B-3 is the.

    These pitch and distortion processing effects mimic the design and sonics of a classic additive-synthesis-based electromechanical musical instrument, the Hammond tonewheel organ. As a reverb effect, the modal processor simulates a room response as the sum of resonant filter responses. This architecture provides precise, interactive control over the frequency, damping, and complex amplitude of each mode. Keywords: audio signal processing; modal analysis; room acoustics; signal analysis; artificial reverberation; digital audio effects; virtual analog; musical instruments 1. Introduction The Hammond tonewheel organ is a classic electromechanical musical instrument, patented by Laurens Hammond in [1]. The most popular model is the Hammond B-3, although many other models exist [3]. The sound of the Hammond organ is rich and unusual. The Hammondizer can imprint the sonics of the Hammond organ onto any sound; it mimics and draws inspiration from the architecture of the Hammond tonewheel organ. We begin by describing the architecture and sonics of the Hammond tonewheel organ alongside related work on Hammond organ modeling. The Hammond organ is essentially an additive synthesizer. Additive synthesizers create complex musical tones by adding together sinusoidal signals of different frequencies, amplitudes, and phases [4]. In the Hammond organ, 91 sinusoidal signals are available. Hammond organ tonewheel pickups have not been studied much in particular, but modeling and simulation of electromagnetic pickups in Appl. Any nonlinearities in a pickup model will cause bandwidth expansion and add to the characteristic sound of the Hammond organ. In the case that this bandwidth expansion would go beyond the Nyquist limit, alias-suppression methods become relevant [11—14].

    Each output uses a 6 Hz vibrato, with from left to right vibrato depths of 0, 25, 50, , and cents, with a depth of 25 cents being typical for a Hammond tonewheel organ. As expected, there is a sinusoidal variation in the output frequency of each partial.

    Keyboard split demonstration. Figure 12 shows an input signal spectrogram Figure 12a and a Hammondized version showing the tonewheel shape distortion Figure 12b. The input signal is the collection of sinusoids C0 through C5. This is applied to the Hammondizer set to a fundamental-only registration , with vibrato and distortion disabled.

    As described above, the lowest two octaves of tonewheels are given 3rd and 5th harmonics. Figure 13 shows spectrograms of an input signal and its Hammondized version. Figure 13a shows the input signal: five 1. Notice in the output Figure 13b that the degree of distortion decreases as the amplitude decreases, as is typical of saturating memoryless nonlinearities. Decreasing amplitude interacting with distortion.

    Recall that the Hammond distortion is generated separately on each key, and accordingly there is no intermodulation distortion. To demonstrate this and to test the presence of intermodulation distortion in our Hammondizer process, we use a signal having C3 and E3 notes which appear both individually and overlapped—see Figure Figure 14b shows the Hammondized result.

    Notice that there is little to no intermodulation distortion in the output; the response to the combination of C3 and E3 is very nearly equal to the sum of the response to C3 and the response to E3.

    Equations 24 and This more typical approach to implementing distortion produces heavy intermodulation distortion.

    Hammond Funk Techniques in Four Keys - hammond organ lesson

    This sort of intermodulation distortion can be considered unpleasant; its absence can be considered a unique feature of the Hammondizer. Showing how the Hammondizer mode-wise distortion does not cause intermodulation distortion. Full Examples In this section, we present examples of the full Hammondizer processing program material, a guitar Figure 15 and a violoncello Figure Blues guitar lick, original and two different Hammondized settings.

    Notice that Appl. Especially from 1—2 s, the vibrato is visible. The Hammondizer extends the recently-introduced modal processor approach to artificial reverberation and effects processing. We close with comments on two extensions to the Hammondizer audio effect. For example, the mode frequency range of the Hammondizer is chosen to match the range of tonewheel tunings on the Hammond organ, and the the vibrato rate and depth are chosen to mimic a standard Hammond organ vibrato tone.

    In closing, we wish to mention that these parameterizations can be extended to loosen the connection to the Hammond organ but widen the range of applicability of the Hammondizer. In this context, some of the connection with the Hammond organ is relaxed, but the drawbar controls still give a powerful and unique interface for pitch shift in a reverberant context.

    Although the Hammondizer is designed to process complex program material as a digital audio effect, it is possible to configure the Hammondizer so that it will act somewhat like a direct Hammond organ emulation. This can be done by driving the Hammondizer with only sinusoids e. This is particularly effective using short mode dampings as in this article. An example is given alongside the other audio online [51].

    Author Contributions: Kurt James Werner drafted the main manuscript and helped write signal processing code. Jonathan S. Abel supervised the research, helped in the preparation of the manuscript, and wrote the signal processing code. Conflicts of Interest: The authors declare no conflict of interest. References 1. Hammond, L. Electrical Musical Instrument. Patent 1,,, 24 April Ng, T. Faragher, S.

    Smith, J. Spectral Audio Signal Processing. Additive Synthesis Early Sinusoidal Modeling. Bode, H. History of electronic sound modification. Audio Eng. JAES , 32, — Ebeling, K. Experimental investigation of statistical properties of diffuse sound fields in reverberation rooms.

    Acta Acust. United Acust. Jungmann, T. Remaggi, L. A pickup model for the Clavinet. Gabrielli, L. A digital waveguide-based approach for Clavinet modeling and synthesis.

    Signal Process. Mustonen, M. Experimental verification of pickup nonlinearity. Thornburg, H. Antialiasing for nonlinearities: Acoustic modeling and synthesis applications.

    Horton, N. Modeling the magnetic pickup of an electric guitar. Paiva, R. Acoustics and modeling of pickups. JAES , 60, — Esqueda, F. Aliasing reduction in soft-clipping algorithms. Wiltshire, T.

    Technical aspects of the Hammond Organ. Hammond Tone Wheels. Reid, G. Pekonen, J. Computationally efficient Hammond organ synthesis. An Introducion to Drawbars.

    Hanert, J. Electrical musical apparatus.

    Patent 2,,, 14 August Leslie, D. Rotatable Tremulant Sound Producer. Patent 2,,, 29 November Meinema, H. A new reverberation device for high fidelity systems. JAES , 9, —, Doppler simulation and the Leslie. O, III. The Leslie. Disch, S. Modulation and delay line based digital audio effects.

    Dutilleux, P. Modulators and Demodulators. Kronland-Martinet, R. Real-time perceptual simulation of moving sources: Application to the Leslie cabinet and 3D sound immersion.

    Audio Speech Music Process.

    Turning Bach for organ or Hammond organ - E-score PDF

    Herrera, J. Discrete time emulation of the Leslie speaker. Spectral delay filters. JAES , 57, — Werner, K. Pakarinen, J. Recent advances in real-time musical effects, synthesis, and virtual analog models. Abel, J. A modal architecture for artificial reverberation. A modal architecture for artificial reverberation with application to room acoustics modeling. Distortion and pitch processing using a modal reverb architecture.

    More than fifty years of artificial reverberation. Bilbao, S. Sound synthesis and physical modeling.

    Avanzini, F. A modular physically based approach to the sound synthesis of membrane percussion instruments. IEEE Trans. Audio Speech Lang. Morrison, J. Music J. Trautmann, L. Classical synthesis methods based on physical models. Vorkoetter, S. Morse, P.

    Fletcher, N. Physics of Musical Instruments, 2nd ed. Wang, A.

    Barrett, G. Between noise and language: The sound installations and music of Peter Ablinger. Mosaic J. Study Lit. Luciverb: Iterated convolution for the impatient. Hammond Suzuki, Ltd. Document ID: V1. Check out Berkleeshares. Berklee is offering free music lessons online designed to expand educational opportunities for musicians around the globe. The music lessons are available for free download from the Berkleeshares.

    These free music lessons are also available on digital file sharing networks. We encourage people to share our lessons with other musicians.

    Berklee Shares - Hammond Organ Complete - Hammond Tones(1)

    While Berklee strongly disapproves of stealing copyrighted music online, we believe that file sharing offers new opportunities for musicians to learn, and to promote and distribute their work.

    Try to emulate the left-hand ghosting that you hear on the CD. The result of ghosting is a percussive click that is typical in funk style.

    The combination of Leslie and drawbar settings with percussive two-hand playing can create innite funky effects. Experiment with these patterns and try to create your own. Notice that, in essence, youre distributing the sixteenth notes over both hands.

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