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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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.
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.
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 .
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.
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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.