Hammond organ
The Hammond organ is an electric organ invented by Laurens Hammond and John M. Hanert, first manufactured in 1935. Multiple models have been produced, most of which use sliding drawbars to vary sounds. Until 1975, sound was created from rotating a metal tonewheel near an electromagnetic pickup, and amplifying the electric signal into a speaker cabinet. The organ is commonly used with the Leslie speaker.
Around two million Hammond organs have been manufactured. The organ was originally marketed by the Hammond Organ Company to churches as a lower-cost alternative to the wind-driven pipe organ, or instead of a piano. It quickly became popular with professional jazz musicians in organ trios—small groups centered on the Hammond organ. Jazz club owners found that organ trios were cheaper than hiring a big band. Jimmy Smith's use of the Hammond B-3, with its additional harmonic percussion feature, inspired a generation of organ players, and its use became more widespread in the 1960s and 1970s in genres such as rhythm and blues, rock, and reggae.
In the 1970s, the Hammond Organ Company abandoned tonewheels and switched to integrated circuits. These organs were less popular, and the company went out of business in 1985. The Hammond name was purchased by the Suzuki Musical Instrument Corporation, which proceeded to manufacture digital simulations of the most popular tonewheel organs. This culminated in the production of the "New B-3" in 2002, a recreation of the original B-3 organ using digital technology. Hammond-Suzuki continues to manufacture a variety of organs for both professional players and churches. Companies such as Korg, Roland, and Clavia have achieved success in providing more lightweight and portable emulations of the original tonewheel organs, called clonewheel organs. The sound of a tonewheel Hammond can be emulated using modern software audio plug-ins.
Features
The Hammond organ has features not typically found on the piano or synthesizer. Some are similar to a pipe organ, but others are unique to the instrument.Keyboards and pedalboard
Most Hammond organs have two 61-note keyboards called manuals. As with pipe organ keyboards, the two manuals are positioned on two levels close to each other. Each is laid out in a similar manner to a piano keyboard, except that pressing a key on a Hammond results in the sound continuously playing until it is released, whereas with a piano, the note's volume decays. No difference in volume occurs regardless of how heavily or lightly the key is pressed, so overall volume is controlled by a pedal. The keys on each manual have a lightweight action, which allows players to perform rapid passages more easily than on a piano. In contrast to piano and pipe organ keys, Hammond keys have a flat-front profile, commonly referred to as "waterfall" style. Early Hammond console models had sharp edges, but starting with the B-2, these were rounded, as they were cheaper to manufacture. The M series of spinets also had waterfall keys, but later spinet models had "diving board" style keys which resembled those found on a church organ. Modern Hammond-Suzuki models use waterfall keys.Hammond console organs come with a wooden pedalboard played with the feet, for bass notes. Most console Hammond pedalboards have 25 notes, with the bottom note a low C and the top note a middle C two octaves higher. Hammond used a 25-note pedalboard because he found that on traditional 32-note pedalboards used in church pipe organs, the top seven notes were seldom used. The Hammond Concert models E, RT, RT-2, RT-3 and D-100 had 32-note American Guild of Organists pedalboards going up to the G above middle C as the top note. The RT-2, RT-3 and D-100 also contained a separate solo pedal system that had its own volume control and various other features. Spinet models have 12- or 13-note miniature pedalboards.
Hammond organ manuals and pedalboards were originally manufactured with solid palladium alloy wire to ensure a high-quality electrical connection when pressing a key. This design was discontinued with the introduction of the transistor organ. This means tonewheel organs have between 3.2 and 8.4 grams of palladium, depending on make and model.
Drawbars
The sound on a tonewheel Hammond organ is varied through the manipulation of drawbars. A drawbar is a metal slider that controls the volume of a particular sound component, in a similar way to a fader on an audio mixing console. As a drawbar is incrementally pulled out, it increases the volume of its sound. When pushed all the way in, the volume is decreased to zero.The labeling of the drawbar derives from the stop system in pipe organs, in which the physical length of the pipe corresponds to the pitch produced. Most Hammonds contain nine drawbars per manual. The drawbar marked "8′" generates the fundamental of the note being played, the drawbar marked "16′" is an octave below, and the drawbars marked "4′", "2′" and "1′" are one, two and three octaves above, respectively. The other drawbars generate various other harmonics and subharmonics of the note. While each individual drawbar generates a relatively pure sound similar to a flute or electronic oscillator, more complex sounds can be created by mixing the drawbars in varying amounts. Because of this, the Hammond organ can be considered a type of additive synthesis.
Hammond organs manufactured from 1969 onwards have the footage of each drawbar engraved on its end. Some drawbar settings have become well-known and associated with certain musicians. A very popular setting is 888000000, and has been identified as the "classic" Jimmy Smith sound.
Presets
In addition to drawbars, many Hammond tonewheel organ models also include presets, which make predefined drawbar combinations available at the press of a button. Console organs have one octave of reverse colored keys to the left of each manual, with each key activating a preset; the far left key, also known as the cancel key, de-activates all presets, and results in no sound coming from that manual. The two right-most preset keys activate the corresponding set of drawbars for that manual, while the other preset keys produce preselected drawbar settings that are internally wired into the preset panel.Vibrato and chorus
Hammond organs have a built-in vibrato effect that provides a small variation in pitch while a note is being played, and a chorus effect where a note's sound is combined with another sound at a slightly different and varying pitch. The best known vibrato and chorus system consists of six settings, V1, V2, V3, C1, C2 and C3, which can be selected via a rotary switch. Vibrato / chorus can be selected for each manual independently.Harmonic percussion
The B-3 and C-3 models introduced the concept of "Harmonic Percussion", which was designed to emulate the percussive sounds of the harp, xylophone, and marimba. When selected, this feature plays a decaying second- or third-harmonic overtone when a key is pressed. The selected percussion harmonic fades out, leaving the sustained tones the player selected with the drawbars. The volume of this percussive effect is selectable as either normal or soft. Harmonic Percussion retriggers only after all notes have been released, so legato passages sound the effect only on the first note or chord, making Harmonic Percussion uniquely a "single-trigger", but still a polyphonic effect.Start and run switches
Before a Hammond organ can produce sound, the motor that drives the tonewheels must come up to speed. On most models, starting a Hammond organ involves two switches. The "Start" switch turns a dedicated starter motor, which must run for about 12 seconds. Then, the "Run" switch is turned on for about four seconds. The "Start" switch is then released, whereupon the organ is ready to generate sound. The H-100 and E-series consoles and L-100 and T-100 spinet organs, however, had a self-starting motor that required only a single "On" switch. A pitch bend effect can be created on the Hammond organ by turning the "Run" switch off and on again. This briefly cuts power to the generators, causing them to run at a slower pace and generate a lower pitch for a short time. Hammond's New B3 contains similar switches to emulate this effect, though it is a digital instrument.History
The Hammond organ's technology derives from the Telharmonium, an instrument created in 1897 by Thaddeus Cahill. The telharmonium used revolving electric alternators which generated tones that could be transmitted over wires. The instrument was bulky enough to require several railway cars for its transportation, because the alternators had to be large enough to generate high voltage for a loud enough signal. The Hammond organ solved this problem by using an amplifier.Laurens Hammond graduated from Cornell University with a mechanical engineering degree in 1916. By the start of the 1920s, he had designed a spring-driven clock, which provided enough sales for him to start his own business, the Hammond Clock Company, in 1928. As well as clocks, his early inventions included three-dimensional glasses and an automatic bridge table shuffler. However, as the Great Depression continued into the 1930s, sales of the bridge table declined and he decided to look elsewhere for a commercially successful product. Hammond was inspired to create the tonewheel or "phonic wheel" by listening to the moving gears of his electric clocks and the tones produced by them. He gathered pieces from a second-hand piano he had purchased for $15 and combined it with a tonewheel generator in a similar form to the telharmonium, albeit much shorter and more compact. Since Hammond was not a musician, he asked the company's assistant treasurer, W. L. Lahey, who was also a trained organist, to help him achieve the desired organ sound. To cut costs, Hammond made a pedalboard with only 25 notes, instead of the standard 32 on church organs, and it quickly became a de facto standard.
On April 24, 1934, Hammond filed a patent for an "electrical musical instrument", which was personally delivered to the patent office by Hanert, the co-inventor, explaining that they could start production immediately and it would be good for local employment in Chicago. The invention was unveiled to the public in April 1935, and the first model, the Model A, was made available in June of that year. Over 1,750 churches purchased a Hammond organ in the first three years of production, and by the end of the 1930s, over 200 instruments were being made each month. By 1966, an estimated 50,000 churches had installed a Hammond. For all its subsequent success with professional musicians, the original company did not target its products at that market, principally because Hammond did not think there would be a sufficient return.
In 1936, the Federal Trade Commission filed a complaint claiming that the Hammond Company made "false and misleading" claims in advertisements for its organ, including that the Hammond could produce "the entire range of tone coloring of a pipe organ". The complaint resulted in lengthy hearing proceedings, which featured a series of auditory tests that pitted a Hammond costing about $2600 against a $75,000 Skinner pipe organ in the University of Chicago's Rockefeller Chapel. During the auditory tests, sustained tones and excerpts from musical works were played on the electric and pipe organs while a group of musicians and laymen attempted to distinguish between the instruments. While attorneys for Hammond argued that the test listeners were wrong or guessed nearly half the time, witnesses for the FTC claimed that Hammond employees had unfairly manipulated the Skinner organ to sound more like the Hammond. In 1938, the FTC ordered Hammond to "cease and desist" a number of advertising claims, including that its instrument was equivalent to a $10,000 pipe organ. After the FTC's decision, Hammond claimed that the hearings had vindicated his company's assertions that the organ produced "real", "fine", and "beautiful" music, phrases which were each cited in the FTC's original complaint, but not included in the "cease and desist" order. Hammond also claimed that although the hearing was expensive for his company, the proceedings generated so much publicity that "as a result we sold enough extra organs to cover the expense."
The Hammond Organ Company produced an estimated two million instruments in its lifetime; these have been described as "probably the most successful electronic organs ever made". A key ingredient to the Hammond organ's success was the use of dealerships and a sense of community. Several dedicated organ dealers set up business in the United States and there was a bi-monthly newsletter, The Hammond Times, mailed out to subscribers. Advertisements tended to show families gathered around the instrument, often with a child playing it, as an attempt to show the organ as a center-point of home life and to encourage children to learn music.