• Register
  • Help
Results 1 to 7 of 7

Topic: Merely Some Diversional Interest For Us Who are Sampling

  1. #1

    Merely Some Diversional Interest For Us Who are Sampling

    Found this on the net
    by Charles Wood
    1. Most importantly, the Hammond organ is there when I want it. Like my piano, it is reliable and it is in tune. I can expect repeatable performance; it is a calibrated instrument. My practicing and registration over the years has the same constancy I would expect when I use my workbench or a set of dishes. You get out what you put in, but this organ does not drop out along the way.
    2. The console is by far the most comfortable and accessible that I have ever played. The tone switches are easy to see and to control. The keys are reliable and are still in great shape, although the organ was built more than 50 years ago in the very earliest days of plastics. The music rack is placed just right: low. The pedals are radial and concave. The bench comfortably seats three, so there is plenty of room for music. (on his model anyway-ed!) Hammond was always regarded for its fine woodwork
    3. Although I have a pipe organ across the room, I only play the Hammond during the summer months. During this time, the pipes are badly out of tune and there have been assorted valving problems. The blower always runs pistol-hot and is a source of heat , which I do not need. I use this season to flush-out the classical cobwebs. Besides, with the windows open, my neighbor prefers Romberg over Pachelbel.
    4. My Hammond actually is jealous of the pipes and thinks that it is a tracker organ. The characteristics are all there: clacky keys, lots of chiffy click, a noticeable sag on the full chords, and even a cipher. The crazy mutations are legend. But, li e a tracker, the Hammond is best played with determination to overcome primitive technology. It is a bare bones, no-nonsense, in-your-face sound.
    5. Too many have gotten carried away with gimmicks on the modern electronics. Those organs let you sit back and wallow in tonal rainbows. A lot of people have bought an organ instead of a piano because there isn\'t much registration on a piano. Think of Itsaak Perlman with his Stradivarius. Now that guy really plays the fiddle! Ask: would you, the organist, really be satisfied to have only four strings to make your music? That Strad is worth millions, but would you really practice on it? I wouldn\'t! However, I am willing to compromise and \"play\" my Hammond. If you don\'t \"play\" it, you get nothin\'.
    6. I register the pieces that I play and very gradually work them up over the years. After awhile, if I hear a familiar piece on the radio, I wonder why it sounds wrong. I really live with these arrangements. If I play one and it doesn\'t sound right, it\'s an indication that something is wrong with my system.
    7. I don\'t play the Franck \"Chorale\" on the Hammond. But then, I don\'t play the piece at all. I do play \"Beautiful Dreamer,\" a scenario from \"Carousel\" and \"Tico-Tico\". Lots of pieces were arranged explicitly for the Hammond and many don\'t really work on other organs. Ethel Smith\'s \"Souvenir Album\" is an example. It requires lightening fast action and all kinds of accents. Other great arrangers were Charles Cronham, Dave Coleman and Bill Irwin. They took advantage of a basic Hammond concert: linear addition. Most theatre organs are \"unified,\" whereby there is no more sound if you play the same rank and pitch on two separate manuals. Not so with Hammond, which electrically increases the sound of identical tones. here is the reason why detailed inn r parts are heard more clearly. Only the latest digitals are beginning to incorporate this feature.
    8. Nostalgia. Remember that the Hammond was invented in a time when people actually practiced and then played for each other. In my neighborhood, after dinner, I often heard thee \"Ab Polonaises,\" some Benny Goodman, and a decent \"Lady of Spain,\" nightl . Everyone had a piano, although most kids hated lessons. the schools flourished with choirs and bands; live music was everywhere. As a teenager, I played an E.M. Skinner pipe organ and found it dull sounding and sluggish. At college, the Hammonds were popular and fun; many of us were hooked. Afterwards, I traveled to distant places with no recognizable culture, such as the Army, North Dakota. I usually found a chapel with a Hammond.
    9. In this vein, I believe that the Hammond organ allowed some, of lesser magnitute, to compete in the world of music. How many became church organists even though they were pianists and couldn\'t pedal? What about those who did backup in a band, and wi l never pedal? I\'ll bet that more than a few ATOS (American Theatre Organ Society-Ed) luminaries first played the Hammond.
    10. Admittedly, I have searched for and found just the right Hammond. Also true, I might have serious problems with a self-contained, 13-pedal job, without presets. Mine is a Model E (quite rare) which has an extra generator, two swell shoes, a great p dal coupler and an AGO pedalboard. The keyboard 16\' pitches go all the way down. I have replaced some primitive tube circuits and smoothed out the tonal response. I don\'t use Hammond\'t tone cabinets but I do use a fancy audio system which includes a De tronix vibrato, a Bigson phaseshifter and Alessis reverbs, along with equalizers and active dividers. I don\'t fool around.

  2. #2

    Re: Merely Some Diversional Interest For Us Who are Sampling

    I always wanted a B3, especially when I was in my old Grateful Dead cover band, but the beast was just to heavy to cart around along with the Leslie. So I settled for midi\'ing up an Oberheim OB-3 sound module to my Roland JV-30 and it pretty much sounded like -crap-(sorry Oberheim!)
    Luckily now, I get to play an A100 and Leslie since I have a house gig (I obviously leave it there )
    You can\'t ever match that sound though, it is what it is. Warm, rich, dark, and beautiful! You can find so many great tones and overtones, harmonics and distortion just by pulling out the old drawbars. The leslie is obviously a huge part of the sound too because it throws the sound everywhere. My expansion card for my Roland XP-80 (Keyboards of the 60\'s and 70\'s) has some nice organ \'samples\' but it ain\'t the real daddy!
    I know at House of Blues where I play, the leslie from the A100 throws the sound all the way to the back of the bar. No matter where you are sitting or standing, you are heard!
    The power of the B3 can be spiritual too. The awesome sound will take ya to church!
    Even though it is a beast, it will be a very sad day if the B3 becomes obsolete.

    [This message has been edited by Damon (edited 12-19-2000).]

    [This message has been edited by Damon (edited 12-19-2000).]

  3. #3

    Re: Merely Some Diversional Interest For Us Who are Sampling

    The Hammond sound is immortal. I play it in church and it is the fattest, wildest, deepest, most intriguing sounding electric/electronic instrument in the world. Hammond and acoustic piano...that\'s my life right there........

  4. #4

    Re: Merely Some Diversional Interest For Us Who are Sampling

    B4 www.native-instruments.com

    Have you guys tried that beast? It sounds lovely and it is very close to the real-deal. Not that I wouldnt want real 300kg piece of ancient technology.

  5. #5

    Re: Merely Some Diversional Interest For Us Who are Sampling

    I tried it and wasn\'t as impressed as I\'d like to have been. Partly the irritating noise they throw in to keep ya from actually using it to make music with their demo (reminds me of the T-Racks compressor/eq demo) and probably my speaker system being somewhat in-adequate to really convey the bigness I associated with this organ.
    You know the tubes on the real deal have got to be part of the mystique. Getting digital to behave warmly seems like teaching a dog to fly. \"Fake warmth\" Yes dear

  6. #6

    Re: Merely Some Diversional Interest For Us Who are Sampling

    First of all,

    You need hi quality sound card and nice sounding monitoring system.

    Also, you sholud compare sound of B4 with RECORDED sound of real deal B3. Of course there is alot of difference between sound of emulator and real (non-recorded) sound of actual instrument.
    Regarding the digital \'valve\' sound that is a hard task but computers and physical modeling are as close as its possible.

  7. #7

    Re: Merely Some Diversional Interest For Us Who are Sampling


    You know the tubes on the real deal have got to be part of the mystique. Getting digital to behave warmly seems like teaching a dog to fly. \"Fake warmth\"


    My main instrument is electric guitar and Ive played alot of different guitar amps ,[Which are the largest use of tubes in use today].Im sure if I blind folded you and ask which amp is tube : Tube Warmth\" and which one is solid state transistor :cold steril sound\", you would be suprised , which one is which.
    Ive heard some very impressive sounding solid state amps and some really crappy7 sounding tube ones .
    I Have nothing against tubes , but I think you can achieve warmth with out them.
    Some people give tubes this mystique and feel automatically if its tube it must be warm and great sounding.

    As far as your statement about digital ,not having a warm sounding .
    You will notice as we get beyond 16 bit into 20,24 32 bit range were Quantization error becomes less significant the sound of digital gets much warmer .

    Responding to emulating a Hammond B3, Pick up computers and music magazine .
    They did a direct comparison between the original PPG, Hammond B3 and the Mellotron and there VST plugin versions ,and the let experts that worked for years with the originals to make the judgement on which sounded better .
    One of the judges was Rick Wakeman.
    The results were very impressive and the plugins faired very well.

Go Back to forum

Tags for this Thread


Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts