Hammond Organ B3-C3 Service Manual

Total Page:16

File Type:pdf, Size:1020Kb

Hammond Organ B3-C3 Service Manual C17 TO 680PF 24-90PF "VOLUME" R4 C2 RADIO-PHONO TABLET 1.8M 39PF E F EXPRESSION C22 CONTROL R5 R9 C6 C15 C16 C23 C24 10M 820K 30PF 51PF .033 145V C18 C20 60PF/SEC 140V T3 G 220PF 220PF TONE NON-VIB 12AX7A 12AX7A TO TONE V1 .033 82PF R40 BN CHANNEL A R6 1 V4A 6 V4B 6 CABINET INPUT 47K 6AU6A R29 R37 .3M V3B C5 2 330K 7 R36 7 12BH7A R34 270K G 100PF .01 R30 R32 330K 1 15M R39 R3 C3 R10 R27 3 8 8 3.9M 1.8M 1.8M R35 12V 270K 5 130V 1.8M +280 330K +290 3.3M R41 7 R31 R33 +280 R38 1200 68K 68K 100K C26 +1.7 (V2) +1.7V (V2) 390K R42 30/25 62 R8 470K +1.7 (V2) INPUT FROM C4 R7 VIBRATO SCANNER D C19 C21 C25 INPUT FROM .0022 .001 .001 MATCHING XFMRS +280 C THRU VIBRATO 2.2M OUTPUT TO TABLETS .33 VIBRATO LINE C11 4.7M C7 1.0 TO HTRS R97 24PF .0047 T7 R13 "BL" 335V +205 C13 C35 R63 4500 R98 10M R15 150PF 390K R63 R18 C35 C60 7500 R14 2.7M 10M 12BH7A 50/300 R25 390PF 390K 117VAC V3A 1 C34 C33 +290 100 .0033 +37 VIBRATO .001 60 HZ 1 4 R94 CHANNEL B 47K 2 C34 R62 900 INPUT R16 220K 6 3 R91 R99 V2 .001 7 375V 4.7K 180 3 +290 +280 100PF 1 6AU6A "GY" V8 270K C8 C12 R62 C33 R95 R96 +33 R12 .0047 C32 100K .0022 6X4 C56 5 R21 390PF 40/450 7 R22 4.7K 4.7K R100 R101 1M 820 R19 C57 C58 C56 2.7K 2.7K 62 470K THESE COMPONENTS GO BETWEEN 10/350 95V POINTS "P" AND "D" IN AO-28-1 40/400 30/350 +1.7V R20 AMPLIFIERS (WITH NO CODE 30/25 2.2M LETTER ONLY) INSTEAD OF R17 R23 R24 THOSE SHOWN AT LEFT C9 22K 1.2K 22K TOP VIEW C10 .33 +280 T5 P C56 C9,C26 (* SEE NOTE) 12AU7A C57 T3 C59,C60 V7A T4 C28 1 C58 R48 R52 * R61 SELECT FOR T5 2 CHANNEL BALANCE 39K (MOUNTED ON "P" TERMINAL) T1 EXPRES- 470K .047 V5 47K SION 6C4 R53* * 3 T6 1 C32 T6 CONTROL C31 47K .0082 V3 R47 .33 V8 V4 V1 V2 V6 V5 V7 T4 6 +205 +205 +33 47K C29 H 7 R60 100PF R54* +37 8 30K PERCUSSION 47K CHANNEL 7 PERCUSSION INPUT C30 CUTOFF R49 V7B GY BL BN G G F EC P D AB LNKMJH 6 2.2K 12AU7A R58 25/25 V6 4.7M 6C4 N R50 1 R57 TO SIDE VIEW 7 PERCUSSSION J R55 L SWITCH TO 22 6 1.5M NOTE: PERCUSSION 82K SWITCH M R52,R53,R54,C32 IN MODEL B3, C3, RT3 R51 25V AO-28-1 AMPLIFIERS K (WITH NO CODE LETTER ONLY) Title 4.7K R56 +33 PREAMPLIFIER TYPE AO-28 22K Size Document Number REV B --- --- --- 1.0 Date: April 20, 1995 Sheet 1 of 1 VIBRATO GREAT OFF SOFT VOLUME T1 TYPICAL GROUP OF LOWER PEDAL TYPICAL GROUP OF UPPER R4 C2 R9 MATCHING (GREAT) MANUAL DRAWBARS DRAWBARS (SWELL) MANUAL DRAWBARS T2 ON R10 - SELECT AT TEST NORMAL TRANSFORMER MATCHING TO BALANCE CHANNELS (LOWER AND PEDAL) TRANSFORMER VIBRATO 1.8M 39PF 820K UPPER SWELL OFF R10 C17 E R5 3.9M F R29 680PF 24-90PF C24 ON 145V R2 10M C5 +280V RADIO-PHONO C1 A V1 .01 330K C22 82PF 1M 470PF R6 6AU6 C8 130V C16 EXPRESSION C23 R37 100PF 1 5 30PF CONTROL .033 47K C15 .033 270K R8 60PF/SEC 140V R39 G R3 C3 470K C18 C20 285V T3 R1 270K 7 51PF 12AX7A TONE 3.9M 1 220PF 220PF 6 330K V3B V4B R40 12BH7A BN 6 R28 V4A R38 6 2 3 5 62 2 12AX7 7 R36 300K R7 390K 7 60V 270K 330K G +1.7V 3 R30 R32 R34 8 (FROM V2) 2.2M R27 15M R35 8 +290V C4 +280V 1.8M 3.3M 1.8M 1.8M +280V 12V .33 +1.7V R41 (FROM V2) +1.7V 100K (FROM V2) 1200 C26 B C7 R13 C11 R31 R33 R42 30/25 68K 68K 24PF 4.7M C25 .0047 .001 R15 R25 R14 C19 C21 LOWER MANUAL BUSBARS UPPER MANUAL +290V .0022 .001 PRESET PANEL 10M 2.7M 100 8 V2 6 V3B 7 R16 C12 12BH7 6 6AU6 130V 7 5 1 5 4 470K .0047 3 C8 8 C13 2 R12 .0001 100V 1 270K 7 R21 D 0 R19 1M 1.0 470K R22 LOWER MANUAL 62 C PRESET PANEL R17 R20 820 1.2K 2.2M PERCUSSION UPPER MANUAL C9 60V 95V SIGNAL BUSBARS 30/25 6 C10 +280V R23 R24 2 3 .33 22K 22K +1.7V VIBRATO 5 (TO V1,V4) SWITCH (GEN 49-91) CLOSED CLOSED CLOSED CLOSED 91 IN V1,V2,V3 IN V1/C1 IN V2/C2 IN V3/C3 C35 C34 150PF R44 22K SCANNER .001 R63 200V C32 V7A R62 390K 390PF C33 1 100K C28 12AU7 .0033 R48 T4 T5 2 1 H PERCUSSION 470K .047 V5 +37V R47 6C4 3 T6 OFF 1 +205 7 4 47K 6 +205 C31 (GEN 44-48) ON THIRD C29 44 R61 7 .33 33K SECOND 100PF 8 85V 7 C30 R49 V7B 6 +33V 2.2K 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 25/25 12AU7 200V R58 L1 L2 L3 L4 L5 L6 L7 L8 L9 L10 L11 L12 L13 L14 L15 L16 L17 L18 J R50 PERCUSSION R60 4.7M CUTOFF 30K 22 L R65 R67 R69 R71 R73 R75 (GEN 1-43) R57 V6 27K 56K 1 6C4 39K 33K 18K 12K K R51 1.5M PERC. C42 C43 C44 C45 C46 C47 C48 C49 C50 C51 C52 C53 C54 25V 1 M DECAY R77 GENERATOR 7 15K OUTPUT 4.7K R66 C37 R68 C38 R70 C39 R72 C40 R74 C41 R76 TERMINALS PERCUSSION 6 SLOW .004 .004 .004 .004 .004 .004 .004 .004 .004 .004 .004 .004 .001 VOLUME R55 82K R59 68K .004 150K .004 150K .004 180K .004 180K .004 180K SOFT R56 22K FAST 120K R46 +33V 12K NORMAL VIBRATO DELAY LINE TONE NOTES: GENERATOR R81 10 R84 5 NINE CONTACTS AND CONNECTIONS R97 1 UNDER "A#" ADJUST KEY ARE OFF 335V +205V SAME AS "B" EXCEPT THAT T5 RUN THESE THREE DRAWBAR WIRES C9,C26 SWITCH 4500 GO DIRECTLY TO KEY CONTACTS. C56 ON BL T7 R98 C57 T3 C59,C60 R82 47 R85 5 C60 7500 C58 T4 R80 50/300 2 NINE CONTACTS UNDER TYPICAL 10 START 6.0V PLAYING KEY. T1 8 CONTACTS UNDER SWITCH HEATERS +290V +37V EXPRES- TOP VIEW TYPICAL PEDAL KEY R94 SION L20 R83 470 R86 20 3 NINE CONTACTS AND CONNECTIONS T6 R87 R99 UNDER "B" ADJUST KEY. CONTROL 4.7K V3 TO GENERATOR R88 117VAC 1 4 +280V 180 V8 V4 V1 V2 V6 V5 V7 TERMINALS 600 250 50/60HZ 900 R95 4 PRESET PERCUSSION SWITCH (SEE PEDAL (1000) 6 3 R91 R96 UNDER "B" ADJUST KEY ONLY. WIRING CHART) HEATER 7 375V +33V (IF USED) 4.7K 4.7K R100 R101 NINE CONTACTS AND CONNECTIONS V8 5 2.7K 2.7K UNDER TYPICAL PRESET KEY. GY 6X4 C56 C57 C58 C56 40/450 30/350 10/350 TO GENERATOR TERMINALS STARTING SYNCHRONOUS 40/400 6 (SEE MANUAL WIRING CHART) BUSBARS MOTOR MOTOR 340VRMS PINS 1,6 Title TO GND R61 SELECTED AT TEST 7 TO BALANCE THE CHANNELS. B3/C3 SCHEMATIC PEDAL SWITCH Size Document Number REV E --- ---- --- 1.0 Date: December 11, 1995 Sheet 1 of 1 GY GY VI VI BL BL GN GN YL YL OR OR RD RD BN BN BK BK A G# G F# F E D# D C# A G# G F# F E D# D C# GY GY W G V B G Y O R B W G V B G Y O R B R B W G V B G Y O R B W G V B G Y O R B VI VI H Y I L N L R D N H Y I L N L R D N D N H Y I L N L R D N H Y I L Y L R D N BL BL GN GN YL YL OR OR RESISTOR PANEL RD RD AND PEDAL FILTER ON BACK OF RESISTOR PANEL BN BN MANUAL ASSEMBLY BK BK RUN SWITCH START SWITCH R83 W G Y BK PEDAL FILTER H N L R82 1 O O F N OFF R80 F ON L20 R86 R85 R84 R81 BN BK YL BN BK BK BL YL OR BN BK RD LINE PANEL MATCHING XFMR T1 (LOWER MANUAL) T2 (UPPER MANUAL) VI GY WH WH R87 WH LOWER MANUAL BL BK BK Y B (BL) 91 13 VI L N GN BL YL RD RD OR WH YL BN RD BN GY GN RD STARTING SYNC MOTOR GY MOTOR OR BK BL PRESET C1 SWITCH BK R1 BK YL GN R2 UPPER MANUAL BK BK VIBRATO SCANNER 8 4 3 7 6 1 65938 72 15 44 27 61 485 3 86 294532761258437617953872164427615853872154 32 76 138538628543276114 5 2 0 8 6 8 4053 13 19 70 86 46 2 83 19 17586424063197951642420819757394202086 97 53 51720806475313 9 YL BL BN TONE GENERATOR YL GN WH YL GN GN RD RD R59 R46 BK BL WH YL GN Y O RB L R DN68 PEDAL SWITCH FREQUENCY NUMBERS IN CONSECUTIVE ORDER 1 PERCUSSION SWITCH (REAR VIEW, COVER REMOVED) VIBRATO SWITCH TERMINALS ON SCANNER TERMINAL NUMBERS DRAWBAR BASE COLOR CODE 8 7 6 5 4 3 2 8 7 6 5 4 3 2 8 7 6 5 4 3 2 GN YL YL BK BLACK BN BROWN R44 RD RED OR ORANGE 1 1 1 1 1 9 6 1 1 1 1 9 7 5 1 1 9 8 7 6 5 YL GN YL YELLOW 8 7 6 5 2 5 4 3 1 1 0 GN GREEN BL RD GN BL BLUE VIBRATO LINE TERMINAL NUMBERS VI VIOLET JACK TO GY GREY AC LINE TONE CABINET WH WHITE BN CONTROL PANEL B BARE (REAR VIEW, COVER REMOVED) GY BL BN Y Y B R B G BL GGF EC L L L D N N GN BK YL GN BR GY B 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 G B B KD NL N GY BK RD OUTLET BOX Y L N P D A B L N K M J H PREAMP VIBRATO LINE BOX Title BN WIRING DIAGRAM - HAMMOND B3 OR C3 Size Document Number REV EB Date: December 12, 1995 Sheet 1 of 1.
Recommended publications
  • Hammond Sk1-73
    Originally printed in the October 2013 issue of Keyboard Magazine. Reprinted with the permission of the Publishers of Keyboard Maga- zine. Copyright 2008 NewBay Media, LLC. All rights reserved. Keyboard Magazine is a Music Player Network publication, 1111 Bayhill Dr., St. 125, San Bruno, CA 94066. T. 650.238.0300. Subscribe at www.musicplayer.com REVIEW SYNTH » CLONEWHEEL » VIRTUAL PIANO » STANDS » MASTERING » APP HAMMOND SK1-73 BY BRIAN HO HAMMOND’S SK SERIES HAS SET A NEW PORTABILITY STANDARD FOR DRAWBAR that you’re using for pianos, EPs, Clavs, strings, organs that also function as versatile stage keyboards in virtue of having a comple- and other sounds. ment of non-organ sounds that can be split and layered with the drawbar section. Even though there isn’t a button that causes Where the original SK1 had 61 keys and the SK2 added a second manual, the new the entire keyboard to play only the lower organ SK1-73 and SK1-88 aim for musicians looking for the same sonic capabilities in a part—useful if you want to switch between solo single-slab form factor that’s more akin to a stage piano. I got to use the 73-key and comping sounds without disturbing the sin- model on several gigs and was very pleased with its sound and performance. gle set of drawbars—I found a cool workaround. Simply create a “Favorite” (Hammond’s term for Keyboard Feel they’ll stand next to anything out there and not presets that save the entire state of the instru- I find that a 61-note keyboard is often too small leave you or the audience wanting for realism.
    [Show full text]
  • Page 14 Street, Hudson, 715-386-8409 (3/16W)
    JOURNAL OF THE AMERICAN THEATRE ORGAN SOCIETY NOVEMBER | DECEMBER 2010 ATOS NovDec 52-6 H.indd 1 10/14/10 7:08 PM ANNOUNCING A NEW DVD TEACHING TOOL Do you sit at a theatre organ confused by the stoprail? Do you know it’s better to leave the 8' Tibia OUT of the left hand? Stumped by how to add more to your intros and endings? John Ferguson and Friends The Art of Playing Theatre Organ Learn about arranging, registration, intros and endings. From the simple basics all the way to the Circle of 5ths. Artist instructors — Allen Organ artists Jonas Nordwall, Lyn Order now and recieve Larsen, Jelani Eddington and special guest Simon Gledhill. a special bonus DVD! Allen artist Walt Strony will produce a special DVD lesson based on YOUR questions and topics! (Strony DVD ships separately in 2011.) Jonas Nordwall Lyn Larsen Jelani Eddington Simon Gledhill Recorded at Octave Hall at the Allen Organ headquarters in Macungie, Pennsylvania on the 4-manual STR-4 theatre organ and the 3-manual LL324Q theatre organ. More than 5-1/2 hours of valuable information — a value of over $300. These are lessons you can play over and over again to enhance your ability to play the theatre organ. It’s just like having these five great artists teaching right in your living room! Four-DVD package plus a bonus DVD from five of the world’s greatest players! Yours for just $149 plus $7 shipping. Order now using the insert or Marketplace order form in this issue. Order by December 7th to receive in time for Christmas! ATOS NovDec 52-6 H.indd 2 10/14/10 7:08 PM THEATRE ORGAN NOVEMBER | DECEMBER 2010 Volume 52 | Number 6 Macy’s Grand Court organ FEATURES DEPARTMENTS My First Convention: 4 Vox Humana Trevor Dodd 12 4 Ciphers Amateur Theatre 13 Organist Winner 5 President’s Message ATOS Summer 6 Directors’ Corner Youth Camp 14 7 Vox Pops London’s Musical 8 News & Notes Museum On the Cover: The former Lowell 20 Ayars Wurlitzer, now in Greek Hall, 10 Professional Perspectives Macy’s Center City, Philadelphia.
    [Show full text]
  • Hammond SK1/SK2 Owner's Manual
    *#1 Model: / STAGE KEYBOARD Th ank you, and congratulations on your choice of the Hammond Stage Keyboard SK1/SK2. Th e SK1 and SK2 are the fi rst ever Stage Keyboards from Hammond to feature both traditional Hammond Organ Voices and the basic keyboard sounds every performer desires. Please take the time to read this manual completely to take full advantage of the many features of your SK1/SK2; and please retain it for future refer- ence. DRAWBARS SELECT MENU/ EXIT UPPER PEDAL LOWER VA L U E ORGAN TYPE PLAY NUMBER NAME PATCH ENTER DRAWBARS SELECT MENU/ EXIT UPPER PEDAL LOWER VA L U E Bourdon OpenDiap Gedeckt VoixClst Octave Flute Dolce Flute Mixture Hautbois ORGAN TYPE 16' 8' 8' II 4' 4' 2' III 8' PLAY NUMBER NAME PATCH ENTER Owner’s Manual 2 IMPORTANT SAFETY INSTRUCTIONS Before using this unit, please read the following Safety instructions, and adhere to them. Keep this manual close by for easy reference. In this manual, the degrees of danger are classifi ed and explained as follows: Th is sign shows there is a risk of death or severe injury if this unit is not properly used WARNING as instructed. Th is sign shows there is a risk of injury or material damage if this unit is not properly CAUTION used as instructed. *Material damage here means a damage to the room, furniture or animals or pets. WARNING Do not open (or modify in any way) the unit or its AC Immediately turn the power off , remove the AC adap- adaptor. tor from the outlet, and request servicing by your re- tailer, the nearest Hammond Dealer, or an authorized Do not attempt to repair the unit, or replace parts in Hammond distributor, as listed on the “Service” page it.
    [Show full text]
  • Early Reception Histories of the Telharmonium, the Theremin, And
    Electronic Musical Sounds and Material Culture: Early Reception Histories of the Telharmonium, the Theremin, and the Hammond Organ By Kelly Hiser A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music) at the UNIVERSITY OF WISCONSIN-MADISON 2015 Date of final oral examination: 4/21/2015 The dissertation is approved by the following members of the Final Oral Committee ` Susan C. Cook, Professor, Professor, Musicology Pamela M. Potter, Professor, Professor, Musicology David Crook, Professor, Professor, Musicology Charles Dill, Professor, Professor, Musicology Ann Smart Martin, Professor, Professor, Art History i Table of Contents Acknowledgements ii List of Figures iv Chapter 1 1 Introduction, Context, and Methods Chapter 2 29 29 The Telharmonium: Sonic Purity and Social Control Chapter 3 118 Early Theremin Practices: Performance, Marketing, and Reception History from the 1920s to the 1940s Chapter 4 198 “Real Organ Music”: The Federal Trade Commission and the Hammond Organ Chapter 5 275 Conclusion Bibliography 291 ii Acknowledgements My experience at the University of Wisconsin-Madison has been a rich and rewarding one, and I’m grateful for the institutional and personal support I received there. I was able to pursue and complete a PhD thanks to the financial support of numerous teaching and research assistant positions and a Mellon-Wisconsin Summer Fellowship. A Public Humanities Fellowship through the Center for the Humanities allowed me to actively participate in the Wisconsin Idea, bringing skills nurtured within the university walls to new and challenging work beyond them. As a result, I leave the university eager to explore how I might share this dissertation with both academic and public audiences.
    [Show full text]
  • The Essential Keyboards You Need PLUS a Genuine HAMMOND Organ the Essential Keyboards You Need PLUS a Genuine HAMMOND Organ
    The Essential Keyboards You Need PLUS A Genuine HAMMOND Organ The Essential Keyboards You Need PLUS A Genuine HAMMOND Organ Sk Series Overview The Sk Series Stage Keyboards are the most revolutionary HAMMONDS yet, from the company that invented and perfected the Drawbar/Tonewheel concept in 1934. These ultralight instruments provide the essential keyboard sounds required to play ANY show in ANY style, including a genuine and vintage-perfect HAMMOND Organ in compact packages with all the features expected in a vintage B-3, plus our most advanced Digital Leslie yet. In addition to the authentic HAMMOND Tonewheel voices, the Sk’s Extravoice Division provides Hi-Def Acoustic Grands, Electric Pianos, Harpsichord, Accordion, Wind, Brass, Synth and Tuned Percussion voices complete the spec. You may play any of the Extravoices “solo” or add them to the Organ voices. The Organ Generator may be switched to provide authentic models of British Vx Organ, Vx Jag.Organ and Italian Farf Combo Organs, all of which can be registered in the original fashion. The fourth Organ mode calls 32 ranks of Genuine Classical (“Church”) Pipe Organ voices derived from our Flagship Model 935 Church Organ. Like all modern Hammonds, the Sks have deep editing capabilities, allowing voicing (volume/timbre/leakage/motor noise) for each of the 96 Digital Tonewheels, faithfully delivering any Hammond Organ’s individual personality, with the ability to save these profiles for instant recall. 12 Factory Digital Tonewheel profiles ranging from “showroom clean” to “road worn” are available for instant personalization. Every Facet of the Hammonds sound like Chorus/ Vibrato, Percussion, Key Click and Overdrive are widely adjustable with all settings saved with every preset.
    [Show full text]
  • Download the Hammond Organs 2021 Guide
    THE ICON IS BACK WWW.HAMMONDORGANS.COM.AU BERNIES MUSIC LAND 9872 5122 HAMMOND: THE ICON RETURNS THE LEGENDARY The Real Thing. NEW XK-5 The first Hammond organ was built over 75 years ago. Since then, the Hammond organ has been the centerpiece of Jazz, Gospel, Rock and Latin music. From Jazz giants like Jimmy Smith, to English rocker Procol Harem playing “ A whiter shade of pale” to Latin with Santana’s ‘Black Magic Woman,” the list is growing in strength as the modern players discover the ‘Hammond’ sound. Matched with the famous Leslie speaker, Hammond gives a huge character XK: The New Original® that simply can't be imitated. Today's range of Hammond instruments includes models for Built for the serious Hammond player. stage, studio, school, chapel and home. Drop in to see the full The XK-5 is a dream. With iconic wooden cabinet range and experience the thrill of pure Hammond sound today: and completely new Hammond technology, it gives you a new level of Hammond playing. The Home of Hammond New real tube pre-amp, new digital Leslie, new Bernies Music Land key contact mechanism, and much, much more. 381 Canterbury Road, Ringwood Let’s face it: we have tons of respect for anyone www.musicland.com.au who carries a B-3, but to get all of the sound with Ph: 9872 5122 none of the hassle, you need the New Original™. XK-5 NEW B-3 A-405 HERITAGE SYSTEM HAMMOND: THE SK: The Portable NEW PORTABLE Classic. ORGAN Hammond introduces one of the finest gigging keyboards ever made.
    [Show full text]
  • THE CHURCHES of LEBANON COUNTY L
    Chapter VII THE CHURCHES OF LEBANON COUNTY l. The Circuits of Lebanon County. 1840-1946. Lebanon Circuit, constituted in 1840, was the third to be carved out of the original Lancaster Circuit. It embraced all the classes and preaching appointments in Lebanon County, and until 1843, some · beyond the county boundry to the east and northeast. The mis­ sionary visits of our pioneers, the influence of the Great Meetings, and the more intense labors of Abraham Troxel, Martin Kreider, and Felix Light, natives of the county, laid the foundations for the United Brethren in Christ Church in Lebanon County. John Neidig and Martin Boehm of two neighboring counties made specific contributions to the work in this county. With Christian Newcomer on his journeys canie such men as George A. Geeting of Maryland, Daniel Strickler and Christian Crum of Virginia, and Joseph Hoff­ man of Cumberland County. References to Newcomer's work in this area will be given in the sketches of local churches. The overall picture can be seen by tracing his customary routes. Coming from Lancaster, he would first meet appointments in and about Schaefferstown, then move on to Philip Breidenstein's and John Zinn's, then through Myerstown out to and beyond Mt. Aetna to _the Zeller homes. His itinerary next took him to the Shuey and Sherk homes in Bethel Township, to the Abraham Troxel house in North Lebanon Township, and to the Felix Light and Martin Kreider homes near Lebanon. From Lebanon westward he passed through Millerstown (Annville) to the Shenk and Ellenberger residences in North Annville.
    [Show full text]
  • Nomination Form International Memory of the World Register
    Nomination form International Memory of the World Register THE MONTREUX JAZZ FESTIVAL, CLAUDE NOBS’ LEGACY (Switzerland) 2012-15 1.0 Summary (max 200 words) « It’s the most important testimonial to the history of music, covering jazz, blues and rock ». These are the words that Quincy Jones pronounced to present the preservation and restoration project of one of the musical monuments from the 20th century, the Montreux Jazz Festival Archives. From Aretha Franklin or Ray Charles to David Bowie or Prince, more than 5,000 hours of concerts have been recorded both in audio and video, since the creation of the Montreux Jazz Festival in 1967, by the visionary Claude Nobs. This collection contains many of the greatest names in middle and mainstream Jazz, including Errol Garner, Count Basie, Lionel Hampton, Dizzy Gillespie, Oscar Peterson to Herbie Hancock. Most of them composed great number of improvised jam sessions extremely rare. Miles Davis played his last performance, conducted by Quincy Jones in 1991. Many artists, like Marvin Gaye, recorded their first and only performance for television in Montreux. This collection of “live” music recordings, ranging from 1967-2012, with universal significance and intercultural dimensions has no direct equal in the world. This musical library traces a timeline of stylistic influences from the early styles of jazz to the present day. In 2007, Swiss Federal Institute of Technology in Lausanne (EPFL) and the Montreux Jazz Festival have decided to join forces to create a unique and first of a kind, high resolution digital archive of the Festival. 2.0 Nominator 2.1 Name of nominator (person or organization) THIERRY AMSALLEM (MONTREUX JAZZ FESTIVAL FOUNDATION) 2.2 Relationship to the nominated documentary heritage MEMBER OF THE MONTREUX JAZZ FESTIVAL FOUNDATION BOARD & OWNER AND CURATOR OF THE MONTREUX JAZZ FESTIVAL AUDIOVISUAL LIBRARY 2.3 Contact person(s) (to provide information on nomination) M.
    [Show full text]
  • Dynamic Temporal Behaviour of the Keyboard Action on the Hammond Organ and Its Perceptual Significance Giulio Moro,A) Andrew P
    Dynamic temporal behaviour of the keyboard action on the Hammond organ and its perceptual significance Giulio Moro,a) Andrew P. McPherson,b) and Mark B. Sandlerc) Centre for Digital Music, Queen Mary University of London (Dated: July 28, 2017) The Hammond organ is one of earliest electronic instruments and is still used widely in contemporary popular music. One of its main sonic features is the \key-click", a transient that occurs upon note onset, caused by the mechanical bouncing of the nine electric contacts actuated during each key press. A study of the dynamic mechanical behaviour of the contact bounces is presented, showing that the velocity, the type of touch and, more in general, the temporal evolution of the key position, all affect different characteristics of the contact bounces. A second study focuses on the listener's perception of the generated sound and finds that listeners can classify sounds produced on the Hammond organ according to the type of touch and velocity used. It is concluded that the Hammond organ is a a touch-responsive instrument and that the gesture used to produce a note affects the generated sound across multiple dimensions. The control available at the fingertips of the musician is therefore such that it cannot be easily reduced to a single scalar velocity parameter, as is common practice in modern digital emulations of the instrument. PACS numbers: 43.75.Tv, 43.75.Yy, 43.66.Jh I. INTRODUCTION II. THE HAMMOND ORGAN The Hammond organ occupies a prominent position in A. History popular music. After its introduction in the 1930's, it was widely used in popular music since the 1950's and Laurens Hammond started prototyping the Hammond its sound has been heard on countless recordings.
    [Show full text]
  • Table of Contents
    NORD ELECTRO 2 V3.0x Table of contents Table of contents 1. Introduction .........................................................5 Welcome ....................................................................................... 5 About the Owner’s Manual........................................................................................................5 Reading the manual in Adobe Acrobat Reader........................................................................... 5 Clavia on the Internet............................................................... 6 2. Overview ................................................................7 The Nord Electro 2 front panel .............................................. 7 The left panel section................................................................................................................. 7 The Organ section ..................................................................................................................... 8 The Instrument Select button ....................................................................................................8 The Piano section ...................................................................................................................... 8 The Effects section..................................................................................................................... 8 The Keyboard............................................................................................................................ 8 Nord Electro
    [Show full text]
  • Non-Linearities of the Mechano-Electrical Tonegenerator of the Hammond Organ ∗†
    ISMA 2019 Non-linearities of the mechano-electrical tonegenerator of the Hammond organ ∗y Malte Münster(1), Florian Pfeifle(2) (1)Institute for Systematic Musicology; University of Hamburg, Germany, [email protected] 1 (2)Institute for of Systematic Musicology; University of Hamburg, Germany, florian.pfeifl[email protected] 2 Abstract The Hammond Organ with its electro-magnetic generator is still a standard instrument in the western music world. The organ still fulfils musicians’ demand for a distinctive sonic identity with intuitive control of some arbitrary parameters. Bequeathed a heritage of some hundreds of thousands of tonewheel organs to the world, most of them still in service since the original manufacturer went out of business. The worldwide organ scene remains a vibrant community. A description of the tone production mechanism is presented based on measure- ments of a pre-war Model A. The survey includes high-speed camera measurement and tracking of the generator as well as oscilloscope recordings of single pickups. Some properties emerge due to the interaction of the me- chanical motion of interaction with the magnetic B-H-field. A FEM model of the geometry shows accordance with the proposed effects. A FDM-model is written and a more complex physical model having a special regard on the geometry and electronic parts of the sound production mechanism. Keywords: Sound, Music, Acoustics 1 INTRODUCTION Following the publication of the Wurlitzer and the Rhodes E-Pianos at ISMA 2014, we have a closer look at the unique Hammond Organ with electro-magnetic sound production. It is one of the remaining standard musical instruments in the western world of Jazz-, Rock-, Funk-, Soul-, Gospel-, Reggae-Music and related genres.
    [Show full text]
  • Masters Thesis
    Hammond Technique and Methods: Music Written for the Hammond Organ JESSE WHITELEY A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN MUSIC YORK UNIVERSITY TORONTO, ONTARIO SEPTEMBER 2013 © JESSE WHITELEY, 2013 Abstract The following thesis is made up of four original compositions written between February and September of 2012, with emphasis on the Hammond Organ in the context of jazz and rhythm and blues ensembles. The pieces of music were designed to feature the organ as the lead instrument in order to highlight various playing techniques that are specific to the Hammond Organ within these genres. In addition to my own music and an explanation and analysis of my work, the writing will provide a historical overview of organists I have chosen to highlight as influences to provide a framework for each piece of music. In order to aid this discussion of what has been an under-theorized instrument and performance tradition, I have sought out active contemporary organists to discuss their creative practices on the Hammond, as well as their insight into the notable organists of the past. Finally, of particular interest to me in this thesis is the emphasis on the Hammond Organ as an electric instrument, and the unique musical textures that are possible through the exploitation of the multiple controls that are integral to the instrument's construction. An audio recording of each piece accompanies the scores that are included. ii Acknowledgements A big thanks to my supervisor Rob Bowman for being the perfect person to work on this project with, for his good advice, resources, and above all - enthusiasm, which has charged me up in the writing of this, multiple times.
    [Show full text]