Hammond Model A User Manual
A SHORT DESCRIPTION OF THE
ELECTRICAL PRINCIPLES AND
TONAL COMBINATIONS OF A
NEW MUSICAL INSTRUMENT
WORLD PATENTED
INDEX TO CONTENTS
Chorus Generator
Diapason Tone Quality
Electrical Principle
Flute Tone Quality
Generator.
Harmonic Controller
Harmonic Controller, Pedal
Organ
Harmonic Controls, Black and
White
Harmonic Controls, Brown
Harmonic’s Seventh
Pipe Organ Mixtures
Pipe Organ Stops
Preset Keys
Preset Pistons (Model E)
Reed Tone Quality
String Tone Quality
Super and Sub-Octave
“Coupler” Effects
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8,16
18,19
8,16
18
7
10
14
15
14
13
15
5
7
9,16,17
8,16
14
Swell Pedals
Toe Pistons (Model E)
Tone Colours
Tone Colour Combinations
Tone Families
Tone Wheel
Tremulant
ILLUSTRATIONS
AND DIAGRAMS
The Hammond Organ
Plan of Console
Harmonic Controller
Pre-set Pistons (Model E)
Graphs and Wave Patterns
Synchronous Motor and Generator Kit
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16, 17
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OUTSTANDING FEATURES
It has the full range of organ tone colours.
Its range of expression is many times greater
than that of other organs.
It occupies only a few square feet of floor
space.
It is ready to play wherever there is an electric
outlet.
It cannot get out of tune, having no reeds nor
pipes.
It is not affected by atmospheric or
temperature conditions.
Its maintenance is negligible.
The standard installation uses about as much
current as four ordinary light bulbs.
Its response and repetition are instantaneous no lag.
It is a beautiful piece of furniture.
It is easily moved,
It is fully guaranteed.
It is made by a well-established organization
with a world-wide reputation for precision
in manufacturing.
Its price is but a fraction of that which any
instrument at all comparable would cost.
But, after all, there is no comparable instru ment.
N organ that is without pipes or wind may well
indeed be called a new instrument.
The Hammond Organ, here pictured and described,
is not merely new; it represents in itself a revolution
so far-reaching as to be quite incalculable. New chapters
in our social history were opened when, two or three
generations ago, the telephone and the typewriter
arrived on the scene There can be no doubt whatever
that the advent of this new instrument must have an
equally startling significance in the world of music
Science and the laws of dynamics have been so harnessed
to the inventor's will that he has created an instrument
eminently suitable for the drawing room yet, when
occasion demands, powerful enough to fill a Cathedral
with a tone of great nobility and sweetness It is
remarkably adoptable for installation purposes The
minimum floor space which it needs never exceeds four
or five feet square
The actual "Furniture" of the instrument consists of
but two pieces the console and the power cabinet, which
is connected to the console by a cable and can be placed
in any convenient part of a room or building. The
number of cabinets may be multiplied for
large buildings, as required.
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CHAPTER I
T H E T O N A L C O N T R O L S O F
THETHE HAMMOND ORGAN HAMMOND ORGAN
XCEPT where otherwise mentioned, the following
descriptions apply equally to every model of the
Hammond Organ.
Each of the three models, A, B and E, is ideally suitable for its particular
purpose. Models A and B will give every satisfaction in the small church
or auditorium or in the home. There is hardly a limit to the scope of
music which can be played on either of these two instruments.
Model E console represents the ultimate in organ design and can be
termed a professional organist's instrument. Whilst being perfectly
suitable for use in the home or in the smallest or largest building, it is so
equipped that every description of organ literature may be played with a
wealth of dynamic interpretation hitherto unthought of.
It is designed on more ecclesiastical lines than the others, so as to better
harmonise with church appointments. Massive in appearance, it is nearly
as portable as Model B.
GENERAL ARRANGEMENT.
Figure 1 shows the various controls marked. The pre-set keys are at
the left-hand end of each manual. The tremulant control is located just
above the pre-set keys. Immediately over the upper manual are five
groups of controls.
There are two groups of harmonic controls of nine draw-bars each, on
the left-hand side; these operate on the upper manual. The two groups
of nine harmonic controls on the right operate on the lower manual.
Between these groups are two other harmonic controls; these operate
on the pedals.
THE PRE-SET KEYS , Models A and B Consoles (Figure 1).
At the left end of each manual is an additional octave of reverse colour
keys-that is, the naturals are black and the sharps white. These
are the pre-set keys. Those to the left of the lower manual are associated
with that manual, those above with the upper manual.
When a pre-set key is depressed it stays down. When a second key on
the same manual is depressed the first key springs up and the second remains
down. Up, the pre-set key is "off"--not functioning. Depressed,
it is “on.” Only one pre-set key should be depressed on the same manual
at one time.
The key at the extreme left, C, is the cancel key, used only to clear the
pre-set keys when two have been depressed by mistake.
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FIGURE 1. PLAN OF CONSOLE (Model A)
FIGURE 1a.
Model E Console. Manual Pre-set Pistons.
Pedal Piston Indicators. Tremulant Levers
FIGURE 1b.
Expression Pedal Indicators. Chorus
Control. Starting and Running Switches.
FIGURE 2. A HARMONIC CONTROLLER
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