Hammond l100 leslie hook up
Your amp will be tested thoroughly after A modern XB in lovely walnut for your consideration. It's not perfect; note the light paint marks and scrapes seen at different angles and lighting in the photos. Still, very very good condition ov Hammond C3 with Leslie RV. Manufactured by Hammond Organ Co. C3 Serial Manufacture Date. B3 with Leslie Allows use of internal speakers or Hammond t This C2 console is lovely. It has been fitted with Trek Percussion that makes it a C3!
Lesle has handles and heavy duty wheels. Local pick up only from Willingboro, NJ. Original paperwork for the Hammond and Leslie are included not pictured. She had about a dozen different high end pianos and this B3 for Hammond organ lessons. That being said, this B-3 was serviced Church is selling the Hammond with Leslie to get funds to build storage building. Beautiful Hammond CV with a Leslie cabinet. Church use only, but normal wear and tear. This condition is slowly but certainly killing every ABC organ ever made - we have found caustic attack in varying degrees on every single ABC manual assembly that we have opened during the last four years.
In several cases, wires have now been found eaten right through. The only cure is by prevention, whereby the manuals are removed from the organ, the cover plates are then removed from the manuals, and finally the strip is cleaned off from the cover plate and the wires. This process is one of the most complicated jobs imaginable; do not under any circumstances attempt it yourself. NGR organs have always had this strip removed from both manuals, followed by a thorough cleansing to remove every last particle that might remain between the wires. The same unpleasant strip appears in several other models, being used to prevent rattling and buzzing between hard, adjacent surfaces.
On the A and E it appears along the strong wooden cross member at the top rear of the organ which supports the lid, and if it is not removed, spreads infuriatingly when the organ is being worked on, soiling everything it sticks to. More seriously, it is used widely in the Concorde family as an anti-rattle measure, where it disintegrates into the electronics and causes corrosion. If neglected, these models will be as threatened in a few years time as the ABC models are now. Piano Finger Blues A old fashioned method of teaching young organists smooth and controlled hand movements when playing, was to place a penny on the back of each hand, where they would be expected to remain.
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How much longer the key contacts would last on Hammond organs if they were always played in such a gentle and fluid manner. Pianists however, when they leave their own instrument and turn to the Hammond organ, invariably fail to adopt the organist's flowing playing technique, and pound the keys with their characteristically violent and jerky movements.
After much hard playing, this leads to the condition known as piano finger blues, characterised by worn out key felts and chopped up bus bars. The felts affected are those holding each key horizontally centralised, and when these become excessively worn, the keys flop without control from side to side. Even when played gently, adjacent keys knock against one another with a hollow clicking sound.
When a key is played, it pushes down a vertical stack of key contacts; on ABC organs there are 9 in each stack one for each drawbar , on the E there are 12 and on the H there are 16! Under each contact lies a bus bar which traverses the whole width of the manual. Thus, ABC organs have 9 bus bars per manual, each cm long. They are made of a slim rod of tinned metal, having a cross-section which is sometimes square, and sometimes rectangular. What is remarkable about them is that a very fine wire or palladium lies embedded along the upper surface, against which the contacts touch when a key deflects them downwards.
Despite the great hardness of palladium, wear will eventually develop in the form of a depression at the point where each contact which is also tipped with a short piece of palladium wire strikes the bus bar. The depression becomes a rut, and eventually, after much hard playing, the wire is severed.
At this point, serious problems start to be encountered by the player. With the palladium wire now absent at the vital point, the key contacts have to make do with the bus bars' underlying material to make contact with, which is very unreliable due to oxide and dirt. Also, the palladium wire is prone to separating from the bus bar at the points where it is chopped off, and curls upwards towards the contact.
Palladium wire worn through, curling up and ready to short a tone on permanently. When the wire reaches the contact, a tone is switched on and is impossible to get rid of, except by never using the drawbar to which that bus bar is attached. If the oxidised and unreliable key contacts tempt the player to use the bus bar shifter, which slides all 9 bus bars sidewards, all the curled up palladium wires find a contact to short against! Not only that, but all the contacts will then be poised above areas of the bus bars that have an accumulation of 35 years of dirt and hardened bus bar grease on them.
Suddenly, half the keys will ceased to work at all, whilst a number of the rest may sound continuously. Clearly, there are lessons to be learnt here. Setting the Spirits Free An elementary discovery when working on Hammonds is the fascinating effect of treble boost. All sorts of pops, wheezes, fizzles and clicks emerge from the Leslie, and the organ's sound assumes a wheezing quality similar to one's voice after downing a large glass of cheap whisky. The effect tends to over-emphasize the unevenness of the basic 91 tones, and eventually becomes rather tiresome.
Generator filter capacitors of this older type must be replaced. This is how the capacitors play their role; the signal from each tone wheel and pickup assembly is far from pure, and contains a host of overtones, undertones and signals leaking in from other pickups. From frequency 44, these impurities are deemed to be so disturbing that filters are used to 'cleanse' them.
From 44 to 48 each signal passes through a small transformer whose inductance is sufficient to trim off overtones. From 49 to 91, a capacitor is added to each transformer, forming a tuned circuit which boosts the wanted frequency and rejects all others. This resonant circuit reacts to a specific frequency determined by the resistance and inductance of the pickup and transformer, as well as the value of the capacitor.
Hooking up a Hammond M-100 to an external amp
When the mathematics are correct, the frequency of this resonant circuit coincides exactly with that of the tone wheel. But this clever balancing act of electrical parameters collapses when the capacitor's value starts wandering. The newer, maroon red capacitors do not exhibit this tendency to the same extent. Since all the individual circuits are different, special equipment is required to determine the optimum capacitance for each, after which capacitors of the appropriate values are installed.
This immediately has two effects; one is mathematical and the other one is more spiritual. Firstly, as if by magic, all 91 outputs from the generator fall exactly into their correct relationship to each other. Secondly, the astonishing clarity of sound produced by this operation is probably what prompted the comment about the sound quality of an NGR A, likening it to the view from a mountain top after the fog has risen.
There remains, however, an impressive grand finale, for now is the right time to add treble boost. A truly spectacular organ sound emerges revealing a degree of soul and character that only a tone wheel Hammond could produce; it's spirits have been set free. For owners of older organs with the yellow capacitors, this is a very rewarding job to have done, but it is tedious and complex work.
The generator must be removed from the organ, the old capacitors must be carefully removed, scores of measurements have to be made, and then the new capacitors are installed.
There is a serious hitch that can arise, which is impossible to foresee if the organ's history is unknown. Someone else may have compensated for the uneven pick-up signals arising from the inaccurate capacitors by altering the adjustment of the magnetic rods. If so, recalibration will then be necessary after replacing the capacitors. This job, apart from requiring special tools and equipment, calls for a degree of experience. Without calibration, job grade 4.
Including calibration, job grade 5. Hammond Graveyard On a very high pallet shelf, reached only by a forklift truck, stand the up-ended carcasses of half a dozen sawn-off Ls. Mindful that such a sight may offend the sensitivities of visitors to our workshop, these pitiful reminders of the 70's lust for Hammond dismemberment remain half hidden. If a customer should enquire if we supply split Hammonds, Marley's ghost of Hammonds-past reveals this graveyard with his pointing finger, and says in an unearthly voice, "Beware!
A so-called split i. Why did they do it?! Even if the amputation was conducted with surgical precision, which they almost never are, there is a host of reasons for holding these abominations in such contempt. To avoid dwelling on a long and tedious list of problems that might resemble a list of charges read out as a prisoner was led away to the gallows, let the point be proven by the existence of our L graveyard.
If you are looking for a Hammond, and a sawn-off L turns up, our advice is to avoid it at all costs.
There are, however, two factory-made split Ls, the Porta-B and the LP, which were designed to be dismounted and moved from gig to gig. It is doubtful, though, that the musicians using these models would entirely agree with Hammond's notion of 'portability'. Just as, say, a diesel engine differs fundamentally in its properties and principals from a petrol engine, so did Laurence Hammond's newly invented synchronous motor differ fundamentally from existing electric motors.
The property underlying its uniqueness was the ability to maintain an absolutely constant speed, this being determined by the frequency of the mains electricity powering it. Used to drive his electronic organ, which he invented to create an application for his motor Hammond could guarantee that the organ would never need tuning since all the spinning tone wheels were mechanically coupled to the motor by a system of cog wheels and axles. In the USA the mains frequency is 60Hz, and all Hammond's design calculations were based on the rotational speed of his motor when powered by this supply.
Following the immediate success of his organ, Mr. Hammond's prudent sense of business led him to initiate export to Europe, and after some furious work on his slide rule to recalculate his designs, export versions of his organ were soon on their way to Europe. The 50Hz mains supply in Europe would cause his motor to rotate at a slower speed, so all the cogs and axles would have to be reworked to compensate for this.
The start motor would have to be different too, as well as the flywheel and the tremulant generator and the vibrato scanner, the latter two features appearing successively in later years. As early as , the icebreaker cargo vessels of the Aga Baltic Company were docking at Stockholm's frozen wharves, where they offloaded Hammond organs entirely adapted to the European 50Hz electricity supply.
Considering, then, that as long as seventy years ago the problem of 50Hz contra 60Hz was solved competently and elegantly by the organ's own creator, is it not beyond belief that 60Hz organs are still finding their way to Europe by dubious means, instead of staying where they should be; in the USA! Once having landed on these foreign shores, these poor 'illegal immigrants' have to suffer the indignity of hideous back-street botch jobs to convert them to 50Hz, after which they are sold to gullible customers who are unaware of their low value.
All the electromechanical components are different - the synchronous motor, the generator, the start motor, and the vibrato scanner, and 60Hz spare parts are unavailable in Europe, should work ever have to be done on them. If you are considering buying a Hammond tone wheel organ, avoid being the 'gullible customer' - insist on seeing the organ's registration plate.
If it says 60 Hz, beware! Be especially suspicious if the plate is 'conveniently' missing or has been tampered with. Remember, there is no shortage of Hammonds in Europe, so buy a 50Hz model. There is, however, a shortage in professionally renovated tone wheel models. Danish Pastry The Danes are Germany's nearest neighbours to the north, and are much esteemed for the quality of their foodstuffs.
The beer is tasty, strong and sparkly, the pastries are crisp and not over-sweetened, the butter is creamy and rich, and the bacon is smoked, savoury and sizzling. Understanding the economic prudence of industrial diversification, the 's saw an eager redirection of the Danes' skills to an area quite new to them; making Hammonds and Leslies.
With a surprising lack of Danish style and design, a range of seriously ugly boxes were conceived, into which the unfortunate imported components were forced. Believing that Leslie cabinets' meagre slits stopped the sound from emerging, they hacked out the vital louvres, leaving the two rotors open on three sides. The smooth swirling sound was gone, replaced by a staccato bark.