Hammond-Leslie FAQ

Version 1.25 - 15 Oct 1996

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Welcome to the Hammond organ and Leslie speaker FAQ - a source of

information, myth and lore regarding all things Hammond and Leslie for
seasoned elders, new converts, skeptics, and visitors alike. It is hoped
that among the fanatical ravings herein will be found real, actual, useful
information. Any contributions and/or corrections are solicited and welcome.
Please address them to [email protected]. A text version of this FAQ is
also available online.

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Introduction

The sound of the Hammond organ has been somewhat absent in popular
recordings of the previous decade or so. There was a time though when its
presence on stage was de rigueur for any self-respecting band - you simply
weren't a real band without one. The sound of the Hammond organ is being
heard once again in contemporary recordings. It has been carried to the
surface recently by a "retro" movement in popular music. The Hammond/Leslie
combination can be seen on stage at concert venues around the country and on
late-night talk shows, usually being played by someone in a contemporary pop
group. But occasionally a veteran can be seen holding court at the console,
grabbing a handful of drawbars while the Leslie spools up. The Hammond -
starting to rumble - a full-hand slowly ascending glissando - the expression
pedal floored - feet pumping furiously - now the Hammond is a full-throated
roar - the Leslie a screaming dervish - eyes closed - arms extended -
clinching a two-handed altered dominant chord on both manuals...

... but I digress.

What is it about the Hammond/Leslie combination that evokes zealous devotion

in its advocates? Why do many of us consider the Hammond to be an instrument
and other boxes with keys affixed to be merely poseurs?

Well, of course, there's the sound...

Some say the Hammond organ is an acquired taste. Perhaps this is true and no
attempt will be made here to describe its bare-murmur-to-
primal-wail-absolutely-righteous sound. But a serious listen to the best of
the listed recordings in the accompanying discography should be sufficient
to addict most of the uninitiated to that sound. These selections
demonstrate the Hammond organ's ability as an instrument to evoke in the
listener the emotion projected by the organist. That ability is the essence
of the fanaticism some have toward the instrument. The Hammond/Leslie
combination is an acoustic instrument, while more modern keyboards,
controllers, and workstations lack this (ahem) organic quality.

And then, there's the technology...

The first thing you notice when you remove the back of a tone wheel Hammond
and poke your curious head into its innards is... the smell of oil and wood.
Behind the pre-amp lies the tone generator, the heart of the Hammond's
sound. Comprising cogs, shafts, bearings, and wire, the tone generator is a
classic example of American over-engineering circa 1940. The rest of the
instrument is hand constructed of the same high quality. And you can still
get parts. Try getting parts for your Rolakorgamaha BS-1 in the year 2030.
But then, why would you want to? Working on Hammond organs can be a
pleasure.

Enough raving. The FAQ is organized as follows:

Contents

* 1.0 The Hammond Tone Wheel Organ

o 1.1 What is Hammond Percussion?
o 1.2 What is key click?
o 1.3 What is Hammond Vibrato?
o 1.4 What is the scanner?
o 1.5 What drawbar registrations are common?
o 1.6 What modifications are common for the Hammond?
o 1.7 How often and with what is it oiled?
o 1.8 When was my Hammond organ made?
o 1.9 I've found a B-3 to buy - what should I look for?
o 1.10 What is foldback?
o 1.11 Repairs, Modifications, and Tech Tips
+ 1.11.1 How do I clean key contacts?
+ 1.11.2 How do I clean drawbar contacts?
+ 1.11.3 How do I adjust the preamp drive level?
(B3/C3/A100/RT3)
+ 1.11.4 The Vibrato is making a chopping sound. How do I fix
it?
+ 1.11.5 How do I lube the manual bus bars?
+ 1.11.6 How do I perform the percussion modification mentioned
in section 1.6?
+ 1.11.7 My percussion doesn't decay. What should I look for?

* 2.0 The Leslie Tone Cabinet "Pipe Voice of the Electric Organ"
o 2.1 What the heck is in that thing? (The basic configuration).
+ 2.1.1 The Treble Rotor
+ 2.1.2 The Bass Rotor
+ 2.1.3 Amplification, etc.
o 2.2 What accessories are available?
o 2.3 What modifications are common for the Leslie?
o 2.4 What are common mic'ing techniques?
o 2.5 What Leslie is this and what is its pinout?
o 2.6 How often and with what is it oiled?
o 2.7 How can a single-speed Leslie be converted into a two-speed
Leslie?
o 2.8 What is the rotation speed of a Leslie's rotors?

* 3.0 Miscellaneous
o 3.1 Where can I buy reproduction cabinet parts?
o 3.2 XB-2 Repairs, Modifications and Tech Tips.
+ 3.2.1 How do I fix loose keys on the XB-2's manual?
+ 3.2.2 How do I adjust the internal pots on the XB-2?
+ 3.2.3 How to EQ the XB-2.
o 3.3 How do I connect this Hammond to that Leslie?

* 4.0 Contributors to this FAQ

* Appendices
o A Hammond and Leslie model list.
o C Bibliography (printed material, folklore, interviews, etc).
o D Essential Discography.
o E Parts and service suppliers list.
o F Hammond and Leslie clones.
o G Equipment Reviews, online schematic diagrams, other files.
o H Digests from the Hammond Mailing List.
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1.0 The Hammond Organ

The Hammond tone wheel organ, first introduced by Laurens Hammond in

April 1935, is the one against which all contenders are measured. For
this reason its technology is outlined below, and not the technology
used in more recently manufactured Hammond organs.

A Hammond console organ includes two 61-key manuals; the lower, or Great,
and upper, or Swell, and a pedal board consisting of 25 keys. The concert
models have a 32-key pedalboard.

The secret of the Hammond tone wheel organ lies in its method of tone
production. The tone generator assembly consists of an AC synchronous motor
connected to a geartrain which drives a series of tone wheels, each of which
rotates adjacent to a magnet and coil assembly. The number of bumps on each
wheel in combination with the rotational speed determines the pitch produced
by a particular tone wheel assembly. The pitches approximate even-tempered
tuning, (it's done with integer math after all).

A note on the organ consists of the fundamental and a number of harmonics,

or multiples of that frequency. In the Hammond organ, the fundamental and up
to eight harmonics are available and are controlled by means of drawbars and
preset keys or buttons. The setting at any particular time is applicable to
one manual, either Great or Swell. (Harmonic content adjustment is provided
for each manual independently.) The Hammond organ creates its tone colors
through additive synthesis.

1.1 What is Hammond Percussion?

Hammond Percussion is the name that Hammond gave to a patented circuit that
changed the attack characteristic of a note. It does this by adding an
additional tone, the Percussion signal, to the note that is depressed. The
envelope of the Percussion signal is controlled to have a specific decay
characteristic. The frequency of the Percussion signal is selectable to be
either the 2nd or 3rd harmonic of the depressed note. The audible effect of
this is that there is a chirp or ping at the attack of the note.

In modern keyboard parlance the Hammond Percussion would be called "single

triggered". The Percussion envelope amplifier is triggered only when a note
is depressed from an all-keys-up state. After it has been triggered and as
long as any upper manual keys remain depressed, no Percussion effect will be
heard when additional notes are depressed. Thus to hear the percussion
effect for every note of a run requires a technique that fully releases the
currently pressed key prior to depressing the next one in the run.

When Percussion is enabled, one of the harmonic busbar contacts from each
key is used to trigger the Percussion amplifier. This removes one drawbar
harmonic from the palette available to shape the sound. The stock setup
removes the harmonic available at the 9th drawbar. The percussion circuit
can be modified to trigger using any of the available harmonic contacts.
(See section 1.11.6 for details of this modification.

On the console organs equipped with percussion, it is enabled only on the

upper manual, and only while using "B" preset.

1.2 What is key click?

The sound produced by early Hammond organs differed from pipe organs in one
characteristic way. There was an attack transient that sounded like a click
or pop when a key was pressed. This was considered a defect. Considerable
design efforts were made to reduce it but it could never be eliminated.
Later rock and blues players found the key click characteristic to be
desireable and some jazz organists consider it to be essential. Many Hammond
organ simulators include a key click control to reproduce this
characteristic.

1.3 What is Hammond Vibrato?

Provided on the organs so equipped are vibrato and chorus settings V1,V2,V3
and C1,C2,C3.

Vibrato is the periodic raising and lowering of the pitch, and is thus
fundamentally different from tremolo which is a variation in only the
loudness of the pitch. The hammond vibrato is implemented using a tapped
delay line, really a low-pass filter. The signal is applied to the delay
line and a rotating scanner, attached to one end of the tone generator
assembly, picks the signal off of the delay line at the tap points. The
scanner, a single-pole 16-throw air-dielectric capacitor switch, is wired so
that the tap point will traverse the entire delay line twice, once up the
delay line and once back down, for each scanner rotation. As the delay line
is traversed phase is added-to and then subtracted-from the signal.

The chorus signal is produced by adding non-pitch-shifted signal to the

pitch-shifted signal.

The three settings each of vibrato and chorus correspond to different

amounts of total delay thus different amounts of total pitch shift.

In addition to the pitch shifting function, the vibrato, as implemented in

the Hammond organ, also acts as a sweeping low-pass filter. There is some
frequency response and amplitude variation as the tap point of the filter is
swept.

1.4 What is the scanner?

The scanner is used in the organ as a single-pole 16-throw rotary switch. It

is constructed as a multi-plate air-dielectric capacitor with 16 stator
poles and one rotor. It is used, in conjunction with the vibrato delay line,
to create the chorus/vibrato.

1.5 What drawbar registrations are common?

Listed here are tables of drawbar settings reported to have been used in
recordings of which you may be familiar. Also shown are the presets'
registrations and their names as they appear in an A-102 owner's manual
(contributed by Steve Blau <[email protected]>).

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Popular Settings

Gospel: 88 8000 008

Blues: 88 5324 588

Rod Argent (Argent) 88 0000 000

Brian Auger: 88 8110 000 2nd Percussion, C3 Vibrato

Tom Coster (Santana) 88 8800 000

Jesse Crawford 80 0800 000

 Setting (theatre
organ sound)

ELP (Keith Emerson) 88 8000 000

88 8400 080
Joey De Francesco
83 8000 000 C3 Vibrato

Booker T Jones: 88 8800 000 (1st chorus)

(Green Onions) 80 8800 008 (2nd chorus) 2nd Percussion

Jon Lord: 88 8000 000 2nd Percussion

Matthew Fisher (A 68 8600 000

Whiter Shade of 2nd Percussion, soft Percussion,
Pale) short decay

Jimmy Smith: 88 8000 000 3rd Percussion, C3 Vibrato

84 8848 448
Steve Winwood:
88 8888 888

80 0008 888 J.Smith can be heard playing this

Errol Garner style registration on Crazy Baby, "Mack
the Knife", "Makin' Whoppee".

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Hammond Presets

Standard Voices

Upper Manual Lower Manual

Key Registration Name Key Registration Name

C -- ---- --- Cancel C -- ---- --- Cancel

C# 00 5320 000 Stopped Flute C# 00 4545 440 Cello

D 00 4432 000 Dulciana D 00 4432 220 Flute &

String
D# 00 8740 000 French Horn
D# 00 7373 430 Clarinet
E 00 4544 222 Salicional
E 00 4544 222 Salicional

F 00 5403 000 Flutes 8' & Great, no

4' F 00 6644 322
reeds
F# 00 4675 300 Oboe Horn
F# 00 5642 200 Open Diaposon

G 00 5644 320 Swell G 00 6845 433 Full Great

Diapason

G# 00 6876 540 Trumpet G# 00 8030 000 Tibia Clausa

A 32 7645 222 Full Swell A 42 7866 244 Full Great

with 16'
 A# 1st Group Drawbars Upper
A# 1st Group Drawbars Lower
B 2nd Group Drawbars Upper
B 2nd Group Drawbars Lower

Theatrical Voices

Upper Manual
Lower Manual
Key Registration Name
Key Registration Name
C -- ---- --- Cancel
C -- ---- --- Cancel

C# 00 8740 000 French Horn C# 00 4545 440 Cello 8'

8'
D 00 4432 000 Dulciana 8'
D 00 8408 004 Tibias 8' &
2' D# 00 4800 000 Vibraharp 8'

D# 00 8080 840 Clarinet 8' Vox 8' &

E 00 3800 460
E 08 8800 880 Novel Solo 8' Tibia 4'
String
F 60 8088 000 Theatre Solo F 00 6554 322 Accomp. 8'
16'

F# 00 4685 300 Oboe Horn 8' F# 00 5642 200 Open Diaposon

8'

G 60 8807 006 Full Tibias Full Accomp.

16' G 43 5434 334
16'
G# 00 6888 654 Trumpet 8'
G# 00 8030 000 Tibia 8'

A 76 8878 667 Full Theatre A 84 7767 666 Bombarde 16'

Brass 16'

A# 1st Group Drawbars Upper A# 1st Group Drawbars Lower

B 2nd Group Drawbars Upper B 2nd Group Drawbars Lower

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1.6 What modifications are common for the Hammond?

Reverb and percussion retrofit:

Kits are availble from the usual vendors that allow the retro-fit of
reverb and percussion to organs not originally equipped with them.

MIDI retrofit:
Kits are also available that allow the Hammond keyboard to be used as a
MIDI controller. These are available both with and without velocity
sensitivity. Some kits remove one set of contacts from use while others
provide a separate keying mechanism, keeping the original key contacts
fully functional.

Preamp replacement:
Solid-state amplifiers are available to replace the tube preamp in the
stock Hammonds. These are used often when a Hammond is removed from its
stock cabinet and re-packaged to make it "portable".
Percussion modification:
A modification to the percussion circuit changes the percussion
amplifier's trigger source from the 9th harmonic busbar to some other
source, usually the 8th. When Percussion is enabled, one of the
harmonic busbar contacts from each key is used to trigger the
Percussion amplifier. This removes one drawbar harmonic from the
palette available to shape the sound. The stock setup removes the
harmonic available at the 9th drawbar. Some players prefer to have the
top-most drawbar available at all times, even when Percussion is
enabled.

1.7 How often and with what is it oiled?

The service manual states oiling should be performed once a year using
Hammond oil, available from aftermarket suppliers (GOFF Professional, Organ
Service Company Inc.). Many warnings have been issued about over oiling,
however. According to Organ Service Company Inc., people over oil the
scanner by filling its oil cup all the way up when actually only the wick in
the cup should be saturated. The main generator is best oiled by directly
filling the two funnels directly on top of the generator a couple of times
each per oiling.

1.8 When was my Hammond organ made?

This is one of the most common questions asked, and unfortunately, due to
the lack of available factory records on production dates, one of the most
difficult to answer. There is some help available however. The
Hammond Age Determination List, currently maintained by Bevis Peters, is an
ad hoc effort started by list members expressly for the purpose of helping
individuals date their Hammond Organs and Leslie speakers. You can find a
local mirror of it here. In addition to dates and model serial numbers, it
provides guidelines to determine generally the age of a Hammond, based on
certain features and characteristics that changed throughout the model
history. Since many of the dates were delivery dates, and organs often sat
on dealers showroom floors for years, it is not a definitive reference. But
with it you ought to be able to get within a few years of the actual
production dates.

1.9 I've found a B-3 to buy - what should I look for?

Some considerations for a typical B-3 purchase (submitted by Al Goff):

* If you happen to find a B-3, remember that it is at least 20 years old,

with a last-model-year (1974) organ, among the hundreds of thousands
sold throughout their 30 years of production. The average B-3 found in
the used-organ market is around 30 years old. The average B-2, C-2 and
other older model Hammond approaches 40-50 years old, regardless of the
cabinet condition.

* Be sure of what you are buying. Often a naive seller will not really be
aware of what is he or she is selling. What's advertised as a "B-3 with
Leslie" may end up being a BV with a Hammond tone cabinet. Check the
data on the manufacturer's plates. Compare the features of the organ
you are looking at with those features you know to be present (or
absent) in that model.

* Examine the overall cabinet as a good indication of the organ's

treatment in life up until now. If it's in poor shape, with missing
wooden parts, broken keys, etc., consider this in your assessment of
the use/abuse to which the organ has been subjected.
* Start the organ (see below). Test each drawbar on each manual. For B-3
or other console organs use the A# and B preset (reverse color) keys,
and their corresponding sets of nine drawbars. The far left set is for
the Upper Manual "A#" preset, the second set is for the Upper Manual
"B" preset, the two drawbars in the middle are for the pedals, the
third set is for the Lower Manual "A#" preset, and the fourth set is
for the Lower Manual "B" preset. Hold a key down on the manual and try
each drawbar to be sure they sound, making sure it's corresponding
preset is pressed.

Then, pick a preset and drawbar group and pull out the first drawbar
from the left in that group (brown) and play from the first "C" note to
the last "C", a total of 61 notes. It is normal for the first octave of
tones to repeat on B-3 and similar organs due to the manual wiring.
(This is not the case in some very early models) Then, push in the
first brown drawbar and pull out the last white drawbar and starting
from the second "C" (notice it's the same tone as key #61, last "C" was
with the first brown drawbar out) on the same manual, play all
remaining notes up to F# an octave from the end where the notes will
again begin to repeat. This repeating is called foldback and is very
important to the classic B-3 sound.

* Repeat this procedure with all drawbar groups and both manuals. You can
also try every note on every drawbar to be sure they all sound. If you
have missing tones, this may be simply a broken wire on the tonewheel
generator, or in the harness between the manuals, or it may be a broken
resistance wire within the manuals or other problem. Some are an easy
fix, some are very difficult.

* Check the percussion on the B-3 and similarly equipped organs keeping
in mind it only functions on the upper manual with the "B" preset. It
does not work on the lower manual, or with any other preset down. Push
all drawbars in, press the "B" preset for the upper manual, turn the
percussion "ON" and play a note, listening for decay. Check the decay
and "SECOND/THIRD" harmonic rocker switches. The "NORMAL/FAST DECAY"
should function in this manner - the FAST decay should decay in about
one second, the NORMAL decay should decay in about four seconds. There
is an adjustment on the preamp for setting the decay. If you have no
percussion, be sure you are checking it correctly. It may be simply a
dead 12AU7 tube, or it may be a bad percussion transformer or other
problem in the organ.

* LISTEN to the START and RUN motors when you start the organ. Be sure
both are functioning normally when their respective switches are set to
ON.

- Hammond organ starting procedure -

Hold the START switch ON for eight seconds, then while still
holding the START switch ON, turn the RUN switch ON and hold
both switches ON for four more seconds. Let go of both. The
START switch will spring to the OFF position, and the RUN
switch should remain ON.

* Try the pedals. Pull out one of the pedal drawbars (two in the center
of the organ between the sets of nine manual drawbars) and play each
pedal. Then push the first in, pull out the other and repeat the test.

* Check the vibrato for each manual. The SWELL vibrato switch is for the
UPPER manual, the GREAT is for the LOWER. Check all positions of the
Black Vibrato knob - V1,V2,V3,C1,C2,C3. If the chorus or vibrato sounds
choppy, or is dead, problems exist which require repair. A very common
 problem in older organs is choppy or "motorboating" vibrato and chorus,
which requires vibrato scanner rebuilding. Other possibilities include
preamp component problems, bad tubes, bad vibrato line box components,
etc. None of these are particularly easy to fix for most owners.

* If a Leslie is included be sure of the model and the Leslie's

operation. Do not rely on the cabinet condition. Plug-in the cable to
the Leslie, be sure the Leslie changes speeds, sounds good from both
the upper horn and woofer. If the Leslie is being offered with an A-100
or other organ with an internally powered speaker, listen to the organ
driving just the Leslie. The presence of sound from the organ's
internal speakers can mask certain defects in the Leslie's sound. A
complete Leslie comes with wood back pieces (three on 122/142/147/145
models).

* Many organ deals go sour due to bad Leslie's, so don't be surprised if

something is amiss. Not all organs are B-3's, and not all Leslie's are
122's or 147's. If it turns out that one or the other is not as
advertised, is incomplete or is otherwise deficient, reduce the offered
price, and hold your breath. Walk away if the negotiation gets nasty,
or if something doesn't seem right to you.

And to help you when you ask on the Mailing List about some organ you want
to buy, here's Bob Schleicher's Used Organ Rating Scale...

Used Organ Rating Scale

OUTSTANDING Looks and works like new or better. Original

finish with no blemishes or sun fade. No apparent
wear anywhere. This is the one the maid polished
every day and the owner made you take your shoes
off to play after you serviced it yearly.

EXCELLENT Slight cabinet imperfections, but original finish.

Minor touch-up O.K.. Works perfectly and well
maintained.

VERY GOOD Same appearance as excellent, but may need

busslube, scanner & other minor repairs. May have
been professionally refinished.

GOOD Moderate cabinet defects which are repairable.

Normal wear for it's age. no major problems with
keyboards or generator.

FAIR This one has seen commercial service. Keyboards

need key combs, upstop felts & busslube. Cabinet
too far gone for restoration to good appearance.
Organ is complete and has pedals and bench.

POOR Major cabinet and mechanical defects. Not a

practical restoration project. May or may not
work, but is complete. This one was on the road
for years, or killed in a church.

PARTS At least some useable parts. Good for training

project. Probably has shot keyboards, frozen
generator, bad scanner and missing parts.

With the increasing popularity of Hammonds, owners think they are all 24k
gold. Fact is, it's easy to put more $$$ & time into a poor specimen than
you will ever recover.
Buyer beware !!

1.10 What is foldback?

A Hammond console model manual has 61 keys. The number of tonewheels

necessary to produce all 9 harmonics for all 61 keys is 109. Since all
console models have either 82 or 91 frequency generators, certain outputs
are reused for the upper harmonics of the keys at the upper end of the
manual. This characteristic of repeating, for the harmonics of an upper
octave, the harmonics used for a lower octave, is called foldback. Most of
the console organs also have foldback of drawbar 1 of the lowest octave of
the manuals; it repeats the harmonic used for drawbar 1 of the next octave
above.

The earliest console organs with 91 frequency generators have no foldback of

the lower octave; the bottom twelve tone generator outputs are available on
the first drawbar of the manuals' bottom octave. On other console organs,
the lowest twelve outputs of the tone generator are available only on the
pedals.

Since no legitimate (Hammond authorized) explanation has yet been found as

to why foldback of the lower octave was introduced, the likely explanation
seems to be given in the service manual's description of the various models
of tone generators.

The first tone generators were 91 frequency generators. In these generators,

the lowest twelve frequencies were produced using twelve wheels with two
teeth each. When, subsequently, the 82 frequency generators were introduced,
the lower octave foldback was implemented. The Service Manual states that
the lower nine frequencies were omitted and manual and pedal rewiring made
them unnecessary.(!) When the wide version of the 91 frequency generator was
introduced, (from the Service Manual) "...the original twelve two-toothed
wheels were replaced with twelve two-toothed complex tone wheels, which
supply a fundamental tone that is enriched with the odd-number harmonics."
Thus these lower twelve frequencies have a different harmonic content from
the, allegedly sinusoidal, remaining seventy-nine.

A narrow version of the 91 frequency generator with complex tone wheels is

the one that is used in the B-3, C-3, RT-3, A-100, D-100, and some of the
earlier models. The Service Manual lists the breakdown of the models that do
by serial number.

Incidently, there is an audible difference between the complex tone wheels

and the regular tone wheels.

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1.11 Repairs, Modifications, and Tech Tips

The following methods and procedures are for those individuals that want do
technical repairs on their organ. They vary in complexity from the
relatively benign drawbar cleaning procedure, to the potentially damaging
bus bar lubing procedure, a procedure probably best left to those with
previous experience.

1.11.1 How do I clean key contacts?

Three steps are mentioned in the Service Manual for progressively bad cases.

1. First, try striking the offending key 15 to 20 times in a rapid

staccato manner to dislodge the dust particles and to clear the
 contacts.

2. If this procedure does not dislodge the dust particles, adjust the bus
bar shifters. The bus bar shifter for the upper manual is a slotted
shaft about 1/2" in diameter, protruding about 1/4" from the rear
surface of the upper manual assembly. It is located behind the mixing
transformer. The lower manual adjuster is located in the corresponding
location on the lower manual. The shifter for the pedal assembly is
located at the low end of the pedals.

Turn the proper bus bar shifter about two turns in either direction.
This operation permits the key contacts to strike a new position on the
bus bar and should free all contacts of accumulated dust particles.

3. If, in extremely stubborn cases, the procedure above does not dislodge
the dust particles, use a board to depress one octave of notes (or the
offending key) and then adjust the bus bar shifters holding the key(s)
down.

A warning about procedure (3) was issued in a Keyboard article, Nov. 1991:

"... 'This is extremely dangerous,'... 'and should never be done

by anyone except a technician who knows that the buss bars are in
absolutely perfect condition. If the keys are worn enough to have
notches in their contacts, running the buss bar back and forth
against depressed keys can saw those little contact wires in
half.'..."

Also, the preset keys are implemented similarly to regular keys, with the
same type of key contacts and so forth. So if you choose to adjust the bus
bar shifter, as (2) and (3), be sure that no preset keys are latched down,
else the same damage could occur as in number (3) above.

1.11.2 How do I clean drawbar contacts?

One suggestion...

"First, pull out all the drawbars to their full 'on' position.
From the rear of the organ, spray Cramolin R-5, Contact Clean, or
another spray contact cleaner into the back of each drawbar, using
the spray nozzle extension tube that's supplied with each product.
Then work each drawbar fully in and out several times to dissolve
the oxidation and dust. The second method is to insert tape head
cleaner swabs coated in Vasoline into the rear of each drawbar
similar to the first method, and carefully coat the top surface of
the drawbar base. This also works well to quiet the noisy 'ratchet
drawbars' on early Hammonds." (Attributed to Al Goff in a Keyboard
Mag interview).

And then there's...

"We remove the drawbar contact and burnish it with a contact

burnishing tool. Be sure the nichrome resistance wire (1 ohm) is
not broken. If it (they) are, do not try to solder them. Go forth
and buy 1/8 watt 1 ohm resistors and solder them where the wire
was. They fit just duckey and work great." (List posting from Bob
Schleicher).

Editor's Note: Caig no longer produces Cramolin R-5, due to its Freon
content. The replacement product is DeoxIT (Cramolin Red replacement),
PreservIT (Cramolin Blue replacement).
1.11.3 How do I adjust the preamp drive level (B3/C3/RT3/A100)?

In organs using the AO-28 preamp (also M3) driving a Leslie the drive level
can be adjusted to give you both the classic Hammond growl or a clean organ
sound on demand. The preamp drive level is set by adjusting a trimmer
capacitor that is accessible behind a removable plug located on the cover of
the box containing the swell capacitor.

Here's a recommended method: (submitted by Al Goff)

The setup:

* Select the A# preset key, upper manual with drawbar setting 80 8808 008
(first brown drawbar and all four white drawbars pulled out to position
8). Expression pedal should be fully depressed (maximum volume),
vibrato and percussion OFF.

* If you regularly use pedals, pull the first (16') pedal drawbar out to
position 8. The preamp trimmer on the organ should be adjusted fully
clockwise.

* For a tube amplifier Leslie adjust the volume control fully clockwise.
For a solid-state Leslie (760, 722, 860, 900, etc), all amp controls
should be almost or fully clockwise.

The procedure (requires two people):

* One person should play a full 5-finger "C" chord on the upper manual;
use all 10 fingers if you don't normally play bass. Don't chord in the
lower octave, but play a realistic full chord. If you play bass with
the left hand, play bass on the first octave of the lower manual with
the first four drawbars out to position 8. Play the low C-pedal if you
are using pedals.

* While the first person plays the above, the second person should begin
turning the trimmer slowly in a counter-clockwise direction, no more
than 1 turn. The organ / Leslie should be getting louder as you turn
the trimmer, but should not yet be distorting.

* If you like a clean organ sound then the final setting should be
slightly less than the point where the Leslie starts to distort.

If you like a dirtier sound then the final setting should be slightly
more (1/8 of a turn) than the point where it just begins to distort.

The caveats:

Increasing the drive level by turning the trimmer more will only
cause problems, as distortion can excessively heat the upper
driver and woofer and may lead to their premature failure. The
classic Hammond growl is a direct result of correct preamplifier
drive adjustment, as well as a well maintained organ and Leslie.
Most organs should require a trimmer adjustment no more than 1 to
1 1/2 turns open.

The test:

To test your freshly adjusted organ and Leslie - If you have it

adjusted for a slight distortion at maximum volume, the distortion
should disappear or be greatly reduced by simply pushing in the
first two drawbars 2 clicks to position 6. It should still be very
loud and very clean, but should have no distortion. The desired
 result is to have some Hammond growl on demand, and a clean organ
sound at other times.

Organs with solid-state Trek-II preamp should be set almost the

same way, but the max drive level on the preamp is adjusted with
the volume pot attached to the swell pedal control arm. Loosen the
set screw and use a small screwdriver to turn the pot within the
arm - do not remove the arm - all other adjustments are the same.

1.11.4 The Vibrato is making a chopping sound. How do I fix it?

The presence of a motorboating or chopping sound in the Vibrato can be an

indication that one or more pole pieces of the scanner have been shorted
out. The likely culprit is a crystalline growth that can occur on the plated
and metal composing the scanner housing (dendrite formation). This shows up
as conductive whiskers or dust between the scanner body and the poles of the
scanner. High humidity and temperature is said to aggravate dendrite
formation. An over-oiled scanner can also cause vibrato motorboating, though
it is probably an aggravating condition to the dendrite formation. The oil
coats the insulators and picks up and retains conductive dust and debris,
shorting out the stators.

A Hammond technical bulletin was issued detailing corrective procedures to

cure this condition. What follows is a shortened version of it (submitted to
the list by Bob Schleicher):

Before you condemn the scanner, be sure the rightmost 6AU6 is healthy.
Swap with the other one to verify. If you still have the problem,
measure the plate and screen voltage on V2. They should measure about
130VDC and 60VDC respectively. Plus or minus 15% is O.K. If the problem
persists proceed as follows:

* Remove the two springs from the coupling to the generator.

* Remove the four 5/16" nuts and lockwashers at the corners of the run
motor.

* Unsolder the seven black wires which go to the vibrato switch and the
red and blue wires at the vibrato line box. Be sure to note or mark
their position.

* Carefully move the motor/scanner assembly to the left and twist to move
it toward back of the console.

* Remove the spring clip from the rectanglular oil trough. Lift the wick
and unwind the oil threads.

* Remove the three screws which attach the scanner to the motor and
separate the scanner from the motor.

* Remove the rear cover from the scanner and unsolder the wire. Be
careful not to bend the pin that the two brushes contact. Raise the end
brush and slide the others off.

* Make an indexing mark on the scanner by the red wire for easier
reassembly.

* Remove the screws from the perimeter of the scanner and remove the
cover. You will now see the stators. WATCH THAT PIN ON THE BACK !!!

* Remove all 16 screws, lockwashers, flatwashers and round insulators

from the outside, the stators, and the square insulators from the
 inside.

* Soak everything you just removed in denatured alcohol overnight. (The

original bulletin said to soak the parts in gasoline. Yikes!).

* Clean the scanner body with alcohol and a scotchbrite pad.

* Spray the clean body and dry insulators with Krylon clear. Allow to dry
thoroughly. WATCH THAT PIN !!

* Make sure the rotor spins freely. If any oiling threads are missing or
broken, this is the time to replace or splice them.

* Reassemble the scanner and reinstall it. Just reverse the above
procedure. Aren't you glad you made those marks now and didn't bend the
pin?

* When you replace the brushes, be sure to look at the bend in the brass
doodads to which the springs are soldered. The lowest one goes on
first.

By the way, the problem of dendrite formation on the metal parts of the
organ have been known to cause problems in other locations in which it can
occur, the vibrato and percussion switch assemblies, etc..

1.11.5 How do I lube the manual bus bars?

Your manuals may need a bussbar lube if the notes are scratchy,
intermittent, and don't respond to the bus bar shifting procedure. This
procedure is probably best left to a professional technician because you can
easily damage something by forcing things. (This procedure was submitted by
Bob Schleicher).

First, the cautions. - You can do VERY serious damage to your keyboards if
this procedure is done incorrectly, so take your time and follow
instructions.

The manual chassis (keyboards) is very heavy. If you're not strong, use two
people to remove and install them. Have all the materials on hand as well as
the service manual for your instrument.

You will need the following materials:

1. A can of NEVR-DUL - A treated wadding available at most hardware or

antique stores.
2. A box of alcohol prep pads - any drug store.
3. Hammond Bussbar lubricant - Organ service Co.
4. A book of matches.
5. Time and patience.

Refer to the service manual for your model and remove the manual chassis. Be
sure to protect the finish on the organ with posterboard or several layers
of newspaper positioned at the ends of the cheek blocks.

* Stand the manuals on end with the presets facing up.

* Remove the small rectangular plate from both keyboards, and remove the
large screw which goes through the drawbar base. You will now see a
gadget that retains the bussbars. Loosen the two screws and move the
restraint back to allow removal of the rods.

* Take your matchbook and jamb it between the cheek block and the Cancel
 key. This will prevent you from hitting a contact, or getting the rod
back in on the wrong side of the bussbar.

* Start at either the top or bottom and remove only one rod. With a gob
of NEVR-DUL, wipe the rod several times. You'll be amazed at the dirt
and crap you get. If the wadding sticks or tears while cleaning,
inspect the palladium wire for broken or missing sections between the
spot welds. If the rod is damaged, replace it. (Again, Organ Service
Co.) If your organ has the round gold plated rods, this will not be a
factor. Just make sure they are very clean and bright.

* Now, with an alcohol prep pad, wipe the rod several times. Use one pad
for each rod, dry and apply a thin coat of busslube to the rod. It's
time for the fun now. Make sure the rod is not bent and re-install in
the same place from which it came. CAUTION!! If you encounter any
resistance, STOP. Remove the rod and again inspect for bends. Keep
trying until the rod goes back in easily. I've found that on later
units with the square rods, it sometimes helps to arch the rod slightly
as you re-insert it. Make sure the Cancel key is down! I'd bet that a
great deal of swearing is in order at this time, but DON'T FORCE THE
RODS. On later consoles, there are holes for additional rods. Be sure
to replace the rods in the same holes originally used.

* Repeat the procedure for all 18 rods, move the retainer to the original
position, replace the cover plates and re-install the keyboards. The
pedal switch may need a lube too. The procedure is similar.

* Apologies in advance to tech who don't want this information out there.

* DON'T FORCE THE RODS and best of luck. I'm sure you'll like having all
the notes play again.

1.11.6 How do I perform the percussion modification mentioned in section

1.6?

The following procedure has worked on a B-3, C-3, and A-100. You will
probably want a copy of your organ's schematic and wiring diagram for
reference.

Note: All references to soldering on drawbars are in reference to the Upper

Manual "B" Preset group, which is the 2nd group of nine from the left, when
viewed from the console seat.

Identify the following:

RESISTOR PANEL
A phenolic board measuring about 1" X 5" is mounted to the rear of
the upper manual just below the upper manual "B" preset drawbars.
This board is called the RESISTOR PANEL. On the left side of this
panel are three dual-mounting lugs. Each of the dual lugs has two
wires attached of similar color. One dual-lug has two WH wires,
one has two GN wires, and one has two YL wires.

PRESET BUNDLE
A bundle of nine multi-colored wires comes from the upper manual
"B" preset key. They exit the upper manual behind the PRESET PANEL
(metal bars with lots of screws). This bundle will be called the
PRESET bundle. Six of the wires in this bundle are routed up and
immediately below the drawbars, where they breakout of the bundle
and are soldered to the drawbar ends. The remaining three of the
bundle are routed below the drawbars behind the upper manual and
attach to three of the dual-lugs on the RESISTOR PANEL:
 Color Destination
BN 1st drawbar
RD 2nd drawbar
OR 3rd drawbar
YL RESISTOR PANEL (2nd harm)
GN RESISTOR PANEL (3rd harm)
BL 6th drawbar
VI 7th drawbar
GY 8th drawbar
WH RESISTOR PANEL (the percussion trigger wire)

The other wires of similar colors (to those from the PRESET
BUNDLE) on the RESISTOR PANEL come from the Percussion Switch
assembly.

The Procedure:

1. Unsolder the GY wire from the 8th drawbar.

2. Unsolder the WH wire from the 9th drawbar and solder it to the 8th
drawbar. This WH wire goes to the percussion switch and this now
configures the percussion to trigger from the 8th drawbar key contacts.

3. There are two WH wires soldered to one of the dual-lugs on the RESISTOR
PANEL. This is the left-most lug on my A-100's Resistor Panel. One of
the WH wires comes from the Percussion switch and one comes from the
PRESET BUNDLE. Identify and unsolder the WH wire that comes from the
PRESET BUNDLE (routed from behind the PRESET PANEL) that is attached to
a dual-lug on the RESISTOR PANEL.

4. Solder the GY wire, removed in step 1, to the RESISTOR PANEL at the

point where the WH wire was removed in step 3.

5. Solder the WH wire, removed from the RESISTOR PANEL in step 3, to the
9th drawbar. Splice a short length of wire to it if it's not long
enough.

1.11.7 My percussion doesn't decay. What should I look for?

(From Bob Schleicher's various postings on the subject to the Mailing List)

The percussion gate is triggered by grounding the "K" terminal on the

preamp. The ground comes to this terminal from the 1' bussbar (white wire)
through the percussion switch. Our old friend metal migration is almost
always the cause of percussion problems. This can be easily verified by
measuring the voltage on the K terminal of your preamp (blue wire) with the
percussion on and the B preset selected. With no keys depressed you should
see a positive voltage of 25 - 30 volts. This should go to 0 when any key is
pressed. If the voltage is very low or missing, the switch is the problem.
Cleaning is the proper cure.

* Select the B preset, turn the percussion to ON, NORMAL, SLOW, SECOND.

* Measure the K terminal with no keys pressed. It should read 25 - 30

volts.

* Now press any upper key and the reading should go to 0.

If little or no voltage appears at K with no keys pressed, unsolder the blue

wire and measure the voltage again. If you now have 25 - 30 volts or so,
then you need to clean the percussion switch.
 * Remove the music rack, the two large screws and two wood screws which
secure the drawbar base, place heavy paper at either end to avoid
scratches and raise the drawbar base 4 to 5 inches.

* Remove the two screws from the percussion switch cover and remove it.

* Spray the interior of the percussion switch housing and contacts with a
good non-residual cleaner and retest to see if it works.

As only about 1/2 of the contacts are reachable from the back of the switch,
it may be necessary to dismantle the entire switch to get results. This is
not a job for the faint of heart. Many foul words have been uttered during
re-assembly. Some will advise applying copius amounts of D.C. to burn the
ofending bits into oblivion. I don't recommend this proceedure as severe
damage to many components may occur.

-------------------------------------------------------------------------

2.0 The Leslie Tone Cabinet

"Pipe Voice of the Electric Organ"

The Leslie Rotating Speaker, named after its inventor, Don Leslie, is
designed as a sound modification device, not a hi-fi speaker. The
pairing of the Leslie Speaker with another device, usually a Hammond
organ, constitutes a musical instrument. It operates on a simple principle;
a directional sound source rotates at constant (or variable) speed around a
fixed pivot point. The effect at the listening location, some distance
removed, is quite pronounced. The characterization of a Leslie Speaker in an
acoustically reflective listening area is a complicated proposition at best
but at least four effects are in operation: amplitude modulation, frequency
modulation, timbre shift, and apparent motion of the sound.

Since the sound source is directional, the intensity of the sound to the
listener (or microphone) is dependent upon, at least, the angular position
of the rotating sound source. The intensity varies as the sound source
rotates and the listener perceives a periodic modulation of the sound as a
function of the rotational speed. This is the amplitude modulation (AM)
component of the sound and when the listening position or microphone is
placed closer to the sound source it will, in general, increase the AM
component of the sound.

The sound source when rotating is periodically accelerating toward and

decelerating away from the position of the listener. This imparts a doppler
shift on the source material and thus a frequency modulation (FM) to the
sound. As in other doppler induced pitch shifts the pitch is perceived to
rise as the source moves toward the listener and fall when the source moves
away from the listener.

The directional pattern of the rotating component is frequency dependent.

High frequencies exhibit more beaming than do lower frequencies, which are
emanated in a more omni-directional pattern. A shift in timbre is perceived
as the angular position of the sound source changes. The treble component is
generally strongest when the rotating component is pointed at the listener
and weakest when it is pointed away.

Finally, due to the multiple reflections of the listening area and the
rotating sound source, the sound appears to emanate from multiple locations
imparting a sense of motion to the sound.

--------------------------------------
Much of the information used for the Leslie portion of the FAQ came from an
article published in 1981 in Recording-Engineer/Producer magazine, titled
"Unearthing the Mysteries of the Leslie Cabinet" by Clifford A. Henricksen

2.1 The basic configuration

The Leslie Loudspeakers company produced many configurations of this

speaker. Models came with reverberation, two-piece cabinets, tube and
solid-state amplifiers, and more. The most popular Leslie Speaker is
probably the model 122. The models 122, 142, 145, and 147 all share a
similar configuration. A 40-Watt monophonic amplifier drives two
transducers, a 15" woofer and a 3/4" throat diameter Jensen compression
driver, through a 16 ohm, 800 Hz passive crossover. The stationary
compression driver fires upward into a rotating horn assembly and the
stationary woofer fires downward into a rotating drum-like reflector. The
rotating assemblies are mechanically belt driven by AC induction motors. In
general, two speeds are available, fast and slow.

The usual cabinet has three compartments. The upper compartment houses the
rotating treble horn assembly. The middle compartment behaves as a vented
enclosure for the woofer, contains the crossover, both drivers, and motors
for both rotating assemblies. The lower compartment houses the amplifier and
the rotating drum. Louvres are located on the three finished sides for upper
and lower compartments.

Two basic sizes of this configuration can be found. The 122 and 147 are
41"H, 20.5"D, 29"W. The 142 and 145 are 8" shorter. The 122 and and 142 have
a balanced amplifier input while the 147 and 145 have an un-balanced input.
The taller cabinet is alleged to have a better bass response.

2.1.1 The Treble Rotor

The treble rotor is primarily responsible for the Leslie's sound

characteristic. Some organists think that the slower acceleration of the
lower drum detracts from the sound and disconnect power to the motors
driving the drum.

The compression driver fires into a vertical tube that acts as a thrust
bearing for the horn, a twin-bell, conical device molded of black Bakelite.
The horn starts vertically and flares horizontally. It is belt-driven by a
two-speed, AC induction motor, (actually two motors; one for slow, one for
fast). Three drive pulley diameters are provided to vary the rotational
speed and an idler pulley is used to maintain belt tension. The treble horn,
while appearing to be bi-conical, actually has only one operating side. The
other side is plugged and exists to provide dynamic balancing to reduce
bearing loads and prevent wobble during operation.

A conical diffuser is located at the mouth of the horn. The diffuser plays a
large role in defining the sound of the treble horn assembly; the dispersion
pattern of the horn is changed from a single, highly directive lobe, to a
more omni-directional, multi-lobed pattern. This complicates the doppler
pattern and with internal reflections of the cabinet considered, provides a
more characteristic sound.

In addition to changing the dispersal pattern, the diffuser performs another

function. With the diffuser absent, the distance of the apparent sound
source from the rotation center varies inversely with frequency. That is, as
the frequency goes up, the emanation point of the sound appears to travel
back down the horn toward the throat. The effect of this is that the Doppler
shift becomes less as the frequency rises and thus there is less FM effect.
With the diffuser in, the emanation point for all frequencies is much closer
to the same rotational radius. A trade-off can be made between a higher FM
component with the diffuser in, and a higher AM component (especially at
high frequencies due to the single-lobed beaming), with the diffuser
removed. Removing the diffuser is a common modification. Replacement horns
can be purchased both with and without the diffuser.

2.1.2 The Bass Rotor

The lower compartment contains a rotating wooden drum beneath the

downward-firing woofer. The drum has an open top, straight sides, and a
scoop that starts vertically at the top and rear of the drum and ends up
horizontal at the bottom and front of the drum. A shaft runs vertically
through the drum's rotational axis. The shaft is supported by a lower
bearing beneath the drum that is mounted in the bottom of the cabinet. The
upper bearing is mounted in a cross member that is held in place by the
secured 15" woofer. The pulley is mounted at the upper end of the shaft
between the drum and the woofer.

The primary effect of the bass rotor is to impart AM to the signal. There is
very little phase shift of frequencies below 200 Hz due to their wavelength,
though some phase shift may occur up around the crossover point of 800 Hz.
The result is a low-frequency pulsation or throb that is very effective when
used at the slow or chorale speed.

2.1.3 Amplification, etc.

The typical unit consists of a 40-Watt monophonic tube amplifier driving the
above described components through a 12dB/octave, 800 Hz, 16 ohm crossover.
The amplifier uses a pair of 6550s as final amplifiers. The motors that
drive each rotor actually consist of a pair of motors, thus four motors
exist, each with a pair of wires that plug into the amplifier chassis.

2.2 What accessories are available?

Combo Pre-amp:
The Leslie Combo Preamp was a chrome wedge shaped box that was designed
to be used with the Leslie speakers with the un-balanced input
amplifier, i.e. 147, 145, etc.. It has two 1/4" inputs, a fader for
each input, a foot-switch mounted top-middle, 115VAC power cord, 6-pin
connector for the interconnect cable. These are available used.

Aftermarket pre-amps are available that perform the same function as

the Combo Preamp but are designed to work with a variety of Leslies:
balanced, un-balanced, 6-pin, 9-pin, etc..

Accessory Kits:
Leslies usually need an accessory kit with the switch for slow/fast
etc.

Here are a few combinations:

Organ Leslie Kit#

B3 122 8001
C3 122 8002
RT3 122 8001
142 8010
M3
145 7271
251/351 8253
M100
147/145 7271
251 8253
A100
 147 7271

2.3 What modifications are common for the Leslie?

Removing the treble diffuser:

As was mentioned earlier, a common modification is to remove the
conical diffuser from both active and dummy horns of the treble rotor.
This will cause an increase in the AM component and a decrease in the
FM component of the sound.

Driver Modifications:
If the drivers are changed then more efficient units than the stock
ones can be used. If driver impedances other than sixteen ohms are used
then the crossover network must be changed to match.

Bass driver:
Stock replacement drivers are available through aftermarket
sources.

Non-stock drivers that have been recommended include JBL models

E-140,K-140 and E-V model 15B.

Treble driver:
The stock treble driver, notoriously fragile, is not currently
available. A bolt-on replacement for the stock driver is available
through aftermarket sources. This sixteen ohm driver (Atlas), is
slightly brighter than the original Jensen driver and is rated at
sixty watts. Its use requires either a new spindle plate or a
simple modification to the existing spindle plate.

Non-stock drivers, Atlas model PD-60 and University Sound model

EV1829, are said to be popular for treble driver replacement. The
compression drivers that are normally used to replace the stock
unit have a 1-inch throat diameter, with either a threaded or
bolt-on mount. These will require an adaptor to allow their use
with the treble horn assembly.

Regarding treble drivers, the highest frequency produced by the

Hammond is around 6 kHz. Treble drivers used for PA use typically
produce usable power to 15 kHz and beyond. Treble drivers with
exceptional high-frequency response are probably not required to
reproduce an adequate amount of key click and may be un-desirable
in this regard. It's really a matter of personal taste.

Amplifier modification:
The stock amplifier produces 40 Watts. It's a great amp and has a
terrific sound but it has a tough time competing on stage with a guitar
amplifier at full honk. It's not surprising that a common modification
consists of some method of achieving higher power. This usually
involves replacing the amplifier or else powering the Leslie from an
external amplifier. The dealers listed in this FAQ can provide details
of their available modifications that boost power. The increase in
power will probably require a change in drivers as well. (You probably
did that anyway when you blew up the treble driver).

2.4 What are common mic'ing techniques?

The following methods have been recommended:

- LIVE -

* Use two MD421s on the upper rotor and 1 RE20 or M88 on the lower rotor.
 Pan the two 421s to L & R. Add the low mic panned mid way.

- STUDIO -

* Use two microphones, a U-87 for the top rotor, and a FET 47 on the
lower rotor. Place the 87 on the opposite side from the 47. If you love
the sound of the motor, and the extra presence of the keys clicking,
the closer you get the better.

* Use a single mic on the bass, MD421, U-87 and do M-S micing on the
treble. M-S or "Mid - Side" micing is one of a family of stereo
techniques usually used in orchestra recording (along with x-y etc.) In
M-S, two condenser mics with selectable patterns are used. One is set
cardioid facing the source, the other is placed on the same vertical
plane, usually inverted on top of the other, perpendicular to the
source and set to figure eight. the Cardioid is panned center, and the
figure eight signal is split to two faders, one hard left, the other
hardright and out of phase (very important) You have the musician play,
and bring up the center mic first, then bring up the left and right
channels. If you sit center as you do this, you will feel the sound
spread out and almost wrap around the sides. It is important to balance
the stereo by ear and not by meter since the meters will inevitably
appear lopsided when the image is acoustically balanced. When using
this on a spinning leslie, the sound appears to spin around your head -
very psychedelic!

2.5 What Leslie is this and what is its pinout?

Leslie production models and pinouts are listed in Appendix A.

2.6 How often and with what it is oiled?

Tom Tuson, of Hammond Suzuki says: "You only need a drop, a tiny
drop at that, about once a year. Remember a little oil goes a
long, long, long, long way. DO NOT USE 3 in 1... Call Hammond and
order our Leslie oil.... I know of no light oil that you can buy
in a hardware store or sewing machine shop that is light
enough....."

2.7 How can a single-speed Leslie be converted into a two-speed Leslie?

Early model Leslies were equipped with motors which provided only the fast
speed. This gave you a choice of tremolo or off. One of the first things
often asked by someone that acquires one of these is whether they can be
converted to provide the chorale speed as well as tremolo. This modification
can be done by either using an electronic speed control, or by modification
or replacement of the motors.

The simplest, and probably least expensive way is to use an electronic speed
control designed specifically for the purpose. This is an aftermarket kit
that installs between the existing motors and the line supply. One such
device gates the power to the horn and drum motors providing one or two full
cycles of AC out of every eight cycles. These devices are available from at
least two suppliers: Goff Professional, and Keyboard Engineering, Inc. (see
Suppliers List).

The single speed motors can be modified with the addition of the chorale
motor and associated hardware. CAE Sound (see Suppliers List) performs this
conversion.

And finally, the motors can be replaced with the dual-motor style motor
assembly but the cabinet may have to be modified to accept different motor
mounting location.

2.8 What is the rotation speed of a Leslie's rotors?

When developing the PRO-3, John Fisher measured his 147. He found that the
top rotor had a rotation speed of 400 RPM on Tremolo and 48 RPM on Chorale.
This was with the belt in the middle pulley position and with a normal belt
tension. The lower drum rotated at about 342 RPM on Tremolo and 40 RPM on
Chorale.

-------------------------------------------------------------------------

3.0 Miscellaneous

3.1 Where can I buy reproduction cases and parts?

Reproduction parts are available to replace all or part of your B-3 or

Leslie case. These are made of a light colored evenly grained wood and can
be purchased finished or unfinished. Also available are pedal assemblies and
benches. See the accompanying Parts and Suppliers list for sources.

3.2 XB-2 Repairs, Modifications, and Tech Tips

Mark Longo has submitted a few postings on modifications and adjustments for
the Hammond-Suzuki XB-2. Those commonly asked for are included here.

3.2.1 How do I fix loose keys on my XB-2 manual?

This is a very typical problem, and fortunately, it's very easy to fix if
you're even a little mechanically inclined. Each key in the XB-2 has a small
guide under the part of the key that is closest to you. That guide has a
little rubber-like 1/4' long tube (jacket) that slips over it. When that
little jacket wears out (which it eventually will) the key's lateral
positioning gets sloppy. When you grip the front of the key between your
thumb and forefinger and wiggle it very gently from side-to-side if the key
easily slides up against the adjacent keys, the little rubber tube has
either worn thin or has completely worn out and fallen off. You'll need to
replace the tube. You can get the replacement jackets from Hammond and do it
yourself, or pay your dealer/shop to do it. It's better if you can do it
yourself as this will keep happening periodically. Replacement jackets can
been obtained direct from Hammond Suzuki USA via mail.

Here's how to replace the jackets:

1. Take the top off your XB2 by loosening the 5 phillips head screws
underneath the organ (be sure to unplug the AC power first!).

2. Remove the loose key (be careful you don't break it, it's only
plastic!). Each key attaches to the organ at the end farthest from you
as you face the keyboard. This end of the key latches through a little
metal housing. Gently press the tip of the key that goes through the
metal housing downward and slightly forward and the key will pop out.
It may take a bit of force to do this but be careful you don't break
the key. Use your fingers or a piece of hard rubber or something else
that's firm but not rigid.

3. Replace the little jacket. In the space underneath the front of the key
you just took out, there is a little metal tongue about 1/4" wide
that's pointing toward the ceiling. Remove the old jacket (if it's
still in place at all) from the tongue. Each jacket has a little ridge
on each side. When you slide the new jacket on, the ridges should point
toward the front and rear of the organ. If in doubt, take off another
 key to see what a properly installed jacket looks like. Slide the new
jacket on. The jacket will stretch a bit going on as it's a tight fit,
but it will go on.

4. Replace the key. You do this by carefully fitting the far end of the
key back into the metal housing. The underside of the key has some
plastic nubs and such that must fit into the keyguide just in front of
the metal housing. Watch out that you don't break the key by just
jamming it into the housing. This is actually pretty simple, just be
careful.

5. Repeat for each loose key, then replace the top.

3.2.2 How do I adjust the internal pots on the XB-2?

Mark Longo ([email protected])

Posted to the Hammond Mailing List on 22 March 95

Things have been quiet on the list, so here's something for the XB2 owners
among us to chew on.

I finally got around to experimenting with the XB2's internal trim pots. You
can use these pots to adjust the XB2's overall output level, overdrive level
and extent, and to modify the vibrato/chorus depth slightly. There aren't
any internal adjustments that let you alter the XB2's basic tone, though
boosting the XB2's output signal to your amplifier may yield a somewhat
fatter tone due to natural harmonic distortion realized in the amplifier's
pre-amp section.

Below I describe what I discovered by experimenting with different pot

settings on my XB2. I should mention that my XB2 was made in the first year
of manufacture. It's possible that if you look inside your XB2 you'll see
something different than what I describe below, or that adjustments to your
own XB2 pots will have slightly different results. Obviously I accept no
responsibility for the accuracy of my below comments as applied to an XB2
other than my own. Please use caution and common sense.

If you're the sort of person who likes to tinker with electronics and you're
not afraid of tweaking with your XB2 a bit, you'll probably find that these
adjustments allow you to tailor the performance of your XB2 a little and
you'll have fun monkeying with it in the bargain. On the other hand, if
you're the sort of person that heeds warnings like:

DO NOT REMOVE THE BACK PANEL - NO USER SERVICABLE PARTS INSIDE

!! DANGER OF ELECTRIC SHOCK !!
Refer repair work to qualified personel.

...then you may be better off leaving your XB2 alone. After all, they sound
pretty cool as they come from the factory and since you have to make the
below adjustments while the XB2's power is turned on, there IS some danger
of electric shock. Also, if you drop something on the circuit board(s) that
conducts electricity (like, say, a screw driver), you might short something
out resulting in a costly repair bill and your doing without your XB2 for a
while.

WARNING:

BEFORE ADJUSTING ANYTHING: Write down the factory-set position of ALL the
trim pots! Be forwarned, Hammond-Suzuki will not take kindly to your call
asking what the factory settings are since you forgot how yours were
originally set yours and screwed them all up. If you get lost, send me
e-mail and I'll send you my default settings, but they may be different for
you if your circuit board is of a different revision than mine. Therefore,
take a few seconds to write your settings down and avoid feeling stupid
later.

Making Adjustments:

The XB2 has several small potentiometers (pots) on the upper circuit board
on the right side of the organ, visible when you remove the cover. My XB2
pots have a white plastic phillips type adjustment screw head about 1/4 inch
in diameter. The name of each pot adjustment is screened onto the circuit
board in English somwhere near its mounting point. I noticed an unlabeled
pot on the lower circuit board near the AC power recepatacle on the left
side of the organ. This may be an AC line level adjustment (high voltage) SO
DON'T MESS WITH IT.

Some of the pots increase their assigned effect when turned clockwise,
others counter-clockwise. One presumes this is because some effects increase
with impedance while others decrease. Just monkey around with the pots and
you'll see which way to turn them. I tried turning each pot to its full
deflection in both the clockwise and counter-clockwise directions and
nothing terrible happenned (my XB-2 didn't blow up!). I did adjust the pots
one at a time so at no time were they all max'd at once, though I personally
doubt that max'ing everything would harm the electronics.

You use the XB2's left output jack only when plugging into a mono amplifier
or mixer. This means that when nothing is plugged into the right output, a
summation of the right and left channels goes to the left output. Many of
the pots in the XB2 control left and right channels separately. When
listening to mono output (left output only), tweaking a RIGHT channel
adjustment affects the summed output as much as tweaking a LEFT channel
adjustment.

R GAIN / L GAIN
These pots control the "clean" output of the organ, that is, the output
of tone generation exclusive of the overdrive circuit. You can boost
the output to the point that you can badly overdrive a mixer's line
input resulting in some very ugly distortion. At first I thought this
was distortion in the output section of the XB2, but I max'd these pots
and fed the signal to my Leslie and heard far less distortion than with
a line mixer, though some distortion is still present.

Note that it may be possisble to dramatically increase the amplified

volume of your XB2 by adjusting these pots and thereby feeding your
amplifier a MUCH hotter signal. I have found this to be very useful
since my Leslie needs a little help to output enough volume in some
live settings. Be careful though, excessive output may cause your
amplifier to distort in ways that neither you nor your amplifier like.
I believe that the XB2's come from the factory with the gain pots set
to a fairly low output value.

OD MIN / OD MAX
These pots determine the amount of distortion added to the output
signal by the overdrive unit. OD MIN sets the amount of distortion
applied to the output signal when the distortion wheel (modulation
wheel on the organ control panel) is at its full backward deflection.
OD MAX sets the amount distortion applied when the wheel is at its full
forward deflection. In theory, setting OD MIN to its lowest value and
OD MAX to its highest would supply the widest range of distortion
available.
R OD GAIN / L OD GAIN
These pots appear to control the overall boost that can be applied to
the output signal by the overdrive circuit. These pots can be used to
boost the level of the overdrive circuit's output, making the organ's
output signal hotter (and possibly overdriving the amp/mixer/tape
you're connected to). Acting in concert with the OD MIN / OD MAX
adjustments, these pots can be used to tailor the effects of the
overdrive circuit.

Use caution and judgement, it's theoretically possible to damage the

input circuit of some types of gear by feeding it too hot a signal from
your organ. If you hear lots of distortion with the OD wheel at the
minimum position, you've probably overdone it.

NOTE: I haven't messed much with the OD pots. It would seem possible
that by setting a modest value on the OD GAIN pots you'd be able to add
distortion with the mod wheel but NOT volume. Many people have
complained that increasing the XB2 overdrive level using the mod wheel
adds way too much volume to the output signal.

If anyone tries this, please let us know what you find.

EXP MIN / EXP MAX

The settings of these pots control the effect of the full backward and
forward deflections of the Hammond expression pedal. The EXP MIN pot
can be set so that full backward pedal deflection still allows a
healthy output level. Conversely, the EXP MAX pot can be used to limit
organ output when the pedal is at it's full forward deflection. Note
that the EXP MIN pot can NOT be set to silence the organ at full
backward pedal deflection.

Apparently the expression pedal is a simple voltage regulator. A

control voltage is sent to the pedal, the pedal returns a voltage level
that is the same or lower depending on whether the pedal is deflected
forward or backward. This is distinct from guitar-type volume pedals
which modulate the amplitude of an audio signal. The EXP MIN and EXP
MAX pots appear to set the lower and upper limits on the voltage
returned from the expression pedal.

VIB2 / VIB3
There have been many complaints voiced on the Hammond mailing list that
the vibrato and chorus on the XB2 are weak when compared against the
same effects on a B3. The VIB2 and VIB3 pots can be used improve this
slightly, but basically, you just have to live with the XB2 vibrato
sound.

These two pots adjust the depth of V2 and V3 and C1 and C2

respectively. Apparently there is no way to adjust the depth of V1 or
C3. Max'ing the VIB3 pot will cause C2 to have the same depth as C3,
but with a very tiny bit more low frequency content. You have to listen
hard in a quiet setting to hear the difference.

LES
This adjustment supposedly effects the sound of the XB2's built in
Leslie simulation, though personally I can't hear that it does much of
anything. It seems to change the "beating" in the highs coming through
the Leslie effect a little, but the change is VERY subtle and you have
to listen carefully in a quiet setting to hear any difference. In any
case, I don't find it useful for audible adjustment.

Mark
=======================================================================
Mark Longo Digital Equipment Corp.
[email protected] Nashua, NH
87 8300 020

3.2.3 How to EQ the XB-2.

Mark Longo ([email protected])

Posted to the Hammond Mailing List on 05/30/95

----------------------------------------------------------------------------
Hi folks,

Having just finished three gigs this weekend using my XB-2 through an
equalizer and into my Leslie 302, I can tell you that for me, EQ'ing the
XB-2 is a BIG plus. Using the EQ I'm able to remove most all of the XB-2's
shrillness and substantially fatten up the low end and low mids, which gets
me much closer to my favorite B3 tone. The details follow.
-

Summary

If you have a few bucks to spend on a decent graphic EQ, do it. You'll be
surprised at how much you can change the sound of your XB-2. If you're one
of us folks who thinks the XB-2 tone could be improved, you'll be surprised
at just how good you can make it sound and you'll have lots of fun doing it.

A 15-band unit is sufficient, though a 31-band unit is a little more fun and
has advantages for the very finicky ear. A constant-Q unit is highly
recommended, and a 120Hz filter is a big plus. Also, � 15db boost/cut unit
is more versatile than a 12db unit, but isn't necessarily needed.
-

The Equalizer

I bought a high quality pre-owned EQ through the Internet ($200 US). It is a

dbx 1531X, which is switchable for 31 bands mono (1/3 octave/band), or two
15-band ranges (2/3 octave/band) for stereo. This EQ has constant-Q
circuitry, which means that the band width effected by each slider is
constant whether the slider is at full boost, full cut, or anywhere in
between. Some cheaper EQ's don't have constant-Q, so when you move a slider
the effected band width becomes greater as the slider moves closer to
extremes, thereby effecting neighboring frequencies more and more as the
slider approaches full boost/cut. This makes it difficult or impossible to
boost/cut a narrow frequency range (such as the top part of the last octave
on the keyboard, for example) without effecting many neighboring
frequencies. I strongly recommend getting a constant-Q EQ. Constant-Q is not
always mentioned in advertisements so when considering an EQ, call the
manufacturer or look at the manual to be sure it has constant-Q circuitry. I
believe all the Rane EQs are constant-Q, as are most good grade units.

I wanted to get a 1/3 octave unit (31 bands) so I could cut most highs
without cutting the key click and to do that I needed a slider somewhere
near 7KHz. The 2/3 octave units (15 bands) don't have a slider near 7Khz as
each slider on those units covers a wider frequency range. BUT, it turns out
that the XB-2 is capable of delivering a loud enough click (especially with
V2.0 OS) that I found I could deeply cut the high frequency overtones and
still have plenty of click coming through. With this in mind it would should
be sufficient to use a good 15 band unit, which is a somewhat cheaper than
the 31-band units, though nearly not by half.

The dbx 1531X has boost or cut maximums switchable between � 7.5db and 15db.
The 7.5db range could be useful when making subtle changes to a mix or vocal
tones, but for the XB-2 the � 7.5db wasn't enough, so I use only � 15db. A
side note, many EQs offer � 12db cut/boost, but I suggest trying to find one
with � 15db. I found that 15db of boost causes a bit of audible distortion
with my performance rig. I like this because it lets me control which
frequencies growl and which ones are clean. On my rig I set the EQ sliders
so that the lows in the 500Hz region have a little more growl than the high,
which I like clean. Your mileage may vary since you likely have different
equipment, but in MY case, I don't get distortion till I move the sliders
PAST the +12db point, so I'm glad to have the versatility of � 15db.
-

Signal Path

I positioned the EQ after the XB-2 in the signal path, using the 1/4" line
out jack from the XB-2 (left output for mono) and then into the EQ, then out
from the EQ into my Leslie 302's 1/4" input. I could not use the 11-pin
Leslie cable from my XB-2 because that cable won't plug into the EQ
(obviously) and my Leslie 302 has no effects loop. Al Goff does not
recommend using the XB-2 effects loop for EQ because more tone shaping takes
place in the XB-2 internal signal path downstream from the effects loop.

Because I'm forced to use the 1/4" XB-2 output, I can not control Leslie
speed using the XB-2 Leslie tab switch or a foot switch plugged into the
XB-2, as is possible when using the 11-pin cable with my Leslie 302. Also,
since devices in the XB-2 effects loop DO NOT EFFECT the XB-2's 1/4"
outputs, I can't use the XB-2 effects loop when using the 1/4" output to the
EQ. You could place an external device such as a chorus stomp box downstream
from the XB-2, but these devices are designed to accept the low voltage
levels generated by guitar pickups and will likely be badly overdriven by
the XB-2's hotter output levels.
-

120 Hz Filtering

My EQ has a 120hz filter which for me is a BIG help. The XB-2 has a 120Hz
buzz (at least mine does) which you only hear when you depress a key. It's
not normally very noticable (unless you use headphones) but my EQ boost of
the lows made it jump out. But the dbx 1531X has a button to take out the
120Hz frequency only, which removes the buzz almost completely (mmm-mmm
good). There is also a slider at 120Hz, and I found that cutting the 120Hz
range with the slider removes the buzz, but it also reduces the bass
response of the organ noticably. Using the 120Hz cut button removes the buzz
but doesn't effect the organ's tone.
-

Chorus

Many of us have complained lots about the XB-2 chorus sounding whimpy. Using
the EQ can improve the chorus sound surprisingly. Don't get me wrong, it
still doesn't sound like that crunchy B-3 chorus so many of us like, but it
is definitely improved. I'm not sure, but I suspect that cutting highs (ie:
above 6Khz) is responsible for the improvement.
-

Tone Settings

I find that the EQ is effective in dramatically altering the XB-2 tone in a

very wide variety of ways. The tonal changes you make are obviously a matter
of your own taste. I use the EQ to try to more closely emulate a real B-3.

The EQ settings I use to do this are specific to my own perfomance rig, the
room I'm playing in, my own personal taste, how many drinks I've had, etc.,
etc., etc. Your settings would (and probably should!) vary, maybe a lot.
That said, it's a little silly to mention specific settings, but I'll tell
ya how I set my EQ up this past weekend anyway. I like Jimmy Smith's tone on
his recent albums, which I'd describe as sweet and a bit churchy, yet beefy
in the lows and especially in the lower mid-range. The EQ lets me get this
tone surprisingly easily. I use full cut (-15db) in all frequencies above
6KHz, with about half cut between 4KHz and 6KHz. I set 1KHz to 4Khz
somewhere near flat, with gradually increasing boost from 1KHz down through
the bass/treble rotor cut off point (800Hz). As I get into the bass rotor
range I increase the boost even more. And I've been adding a little growl by
boosting to nearly full throw (+15db) in the 400-600Hz neighborhood.

If you try this, let me know what you find.

Have fun, Mark

=======================================================================
Mark Longo Digital Equipment Corp.
[email protected] Nashua, NH
87 8300 020

3.3 How do I connect this Hammond to that Leslie?

Ted Thompson has developed a guide on just this subject. Check out his
Leslie Hookup Page for more information.

-------------------------------------------------------------------------

4.0 Contributors to this FAQ

This FAQ was compiled from correspondence that occurred on the Hammond
mailing list and from sources listed in the Bibliography. Many contributions
were made. At least the following people made significant contributions.
Anyone that feels they have been wrongly omitted (or wrongly accused) from
the following please speak up:

* [email protected] (Tom Tuson)

* [email protected] (Mike Sues)
* [email protected] (Bevis Peters)
* [email protected] (Steve Blau)
* [email protected] (Bob Schleicher)
* [email protected] (Joe Rut)
* [email protected] (Bruce Wahler)
* [email protected] (Colin Spence)
* [email protected] (Dave Amels)
* [email protected] (Dave McNally)
* [email protected] (Malte Rogacki)
* [email protected] (Marco Montaruli)
* [email protected] (Al Goff)
* [email protected] (Gilles Bacon)
* [email protected] (John)
* [email protected] (Jeffery Mee)
* [email protected] (Mark Longo)
* [email protected] (Louis Pomanti)
* [email protected] (Tom Dercola)
* [email protected] (Ben "Jacobs")
* [email protected] (Russ Evans)
 * [email protected] (Sal Azz)
* [email protected] (Chuck Cordier)
* [email protected] (Ted Thompson)
* [email protected] (Allen Sears)
* [email protected] (Robert May)
* [email protected] (John Fisher)

-------------------------------------------------------------------------

Hammond mailing list charter (brief):

This is to announce an informal internet mailing list for and by

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To subscribe to Hammond, send the following in the body (not the

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-----------------------------------------------------------------

- Disclaimer and Copyright -

Copyright (c) 1996, Bradley Baker

Permission is granted for this material to be freely used and

distributed, provided the source is acknowledged. No warranty of
any kind is provided. You use this material at your own risk.

-------------------------------------------------------------------------

Appendix A - Hammond and Leslie model list.

Hammonds

Model A

Production Years: June 1935 to October 1938 (about 2500 made)

Cabinet Size: 48.5x47x38.5 (WHD, inches), 359lbs with bench &
pedalboard
Finish: American Walnut
Manuals: Swell and Great, 61 keys each.
Pedals: 25-note radiating and detachable.
Controls: 9 presets and 2 sets of 9 drawbars for each manual. 2
adjustable drawbars (16' and 8') for pedals.
Amp/Output: Internal preamp only
Features: One tone generator, one adjustable tremulant affecting
both manuals and pedals equally. Same cabinet as B
models, but not as deep.
Picture: Model A

----------------------------------------------------------------------------

Model A-100, A-101, A-102

Production Years: 1959 to 1965

Synopsis: Home style console, same as C-3 but with a built-in
sound system including reverb control. Cabinet has no
flip top covering the manuals.
Cabinet Size: 47.5x45.5x43 (WHD, inches), 391lbs with bench &
pedalboard.
Finish: A-100, Red mahogany, light Walnut, Oak
A-101, Brown mahogany, gray mahogany, black, straight
legs at front.
A-102, Light cherry, dark cherry (had Queen Anne Legs)
Manuals: Swell and Great, 61 keys each.
Pedals: 25-note, radiating and detachable.
Amp/Output: 27 Watts - one main, one reverb amp, 3-12" speakers.

Picture: A100 dark walnut, A100 Light Walnut

----------------------------------------------------------------------------

Model A-105

Production Years: 1962 to 1975

Synopsis: Church style console, same as C-3 but with built-in
sound system including reverb control.
Cabinet Size: Same as Model C.
Finish: Light oak - dark walnut.
Manuals: Swell and Great, 61 keys each.
Pedals: 25-note radiating and detachable.
Amp/Output: 27 Watts - one main, one reverb amp, 3-12" speakers.

----------------------------------------------------------------------------

Model AB

Production Years: June 1935 to October 1938 (about 4000 made)

Synopsis: Same as Model A but enclosed in larger woodwork (a B
cabinet).
Cabinet Size: With pedal keyboard and bench: 48.75x46x49.5 (WHD,
inches)
Finish: American Walnut
Manuals: Swell and Great, 61 keys each.
Pedals: 25-note, radiating and detachable.
Controls: 9 presets and 2 sets of 9 drawbars for each manual. 2
adjustable drawbars (16' and 8') for pedals.
Amp/Output: Internal preamp.
Features: One tone generator, one adjustable tremulant affecting
both manuals and pedals equally.

----------------------------------------------------------------------------

Model B-2

Production Years: Dec 1949 to Dec 1954

Synopsis: In a B-3 style case, the B-2 is equipped with Hammond
vibrato providing three degrees of true vibrato and
chorus. The vibrato/chorus is selectable for each manual
 independently. It is not equipped with percussion, but
does provide an additonal control for overall "NORMAL or
"SOFT" volume.
Finish: Walnut
Manuals: Swell and great, 61 playing keys each.
Pedals: 25-note radiating detachable pedalboard.
Controls: 9 preset keys and 2 sets of 9 adjustable harmonic
drawbars for each manual. 2 adjustable (16' and 8') for
pedals.
Amp/Output: Internal preamp.
Features: One expression pedal controlling swell, great an pedals.

----------------------------------------------------------------------------

Model B-3

Production Years: Jan 1955 to 1974

Synopsis: The archetype, it is equipped with Hammond
chorus/vibrato providing 3 levels of chorus and vibrato,
selectable for each manual independently. It is equipped
with Hammond Percussion. The percussion has four
controls: ON/OFF, Volume: NORMAL/SOFT, Decay: SLOW/FAST,
Harmonic: 2nd/3rd.
Cabinet Size: With pedal keyboard and bench: 48.75x46x49.5 (WHD,
inches), 425lbs with bench and pedalboard.
Finish: Walnut/Cherry
Manuals: Swell and great, 61 playing keys each.
Pedals: 25-note radiating detachable pedalboard.
Controls: 9 preset keys and 2 sets of 9 adjustable harmonic
drawbars for each manual. 2 adjustable (16' and 8') for
pedals.
Amp/Output: Internal preamp.
Features: One expression pedal controlling swell, great an pedals.

Picture: B3, Lime Oak B3 (from Danny Callebaut )

----------------------------------------------------------------------------

Model B-A

Production Years: Jan 1938 to Dec 1938 (about 200 made)

Synopsis: Tonally and electrically similar to the Model BC
console. In addition to normal playing, it could also be
played with rolls similar to a player piano.
Cabinet Size: Floor dimensions similar to the BC with a somewhat
higher back section to accomodate pneumatic action. 425
lbs, with pedals and bench.
Manuals: Swell and Great, 61 keys each.
Pedals: 25-note radiating, detachable.

----------------------------------------------------------------------------

Model BC

Production Years: Dec 1936 to Nov 1942 (about 13000 made)

Synopsis: Same as model AB but with one additonal generator and
appropriate switching to create chorus effect.
Finish: Walnut
Manuals: Swell and Great, 61 keys each.
Pedals: 25-note radiating, detachable.
Amp/Output: Internal
Features: Equipped with a chorus generator. The BC is not equipped
 with complex tone wheels, thus the bottom octave of the
tone generator is wired to the manuals.

Picture: BC in mahogany

----------------------------------------------------------------------------

Model BCV

Production Years: Dec 1949 to Dec 1954

Synopsis: Same as Model BC but has Hammond vibrato and vibrato
chorus. None produced. Converted by vibrato kit added
after 1945.

----------------------------------------------------------------------------

Model BV

Production Years: Apr 1946 to Dec 1949

Synopsis: In a B-3 style case, the BV is equipped with Hammond
vibrato providing three degrees of true vibrato and
"OFF" position, effective only on both manuals
simultaneously, together with vibrato chorus usable in
three different degrees and "OFF". It is not equipped
with percussion.
Finish: Walnut
Manuals: Great and Swell, 61 keys each, 25 radiating pedals.
Controls: 9 presets and 2 sets of 9 drawbars for each manual. 2
adjustable drawbars (16' and 8') for pedals.
Amp/Output: Internal preamp.
Features: The vibrato switch is similar in appearance, function,
and placement as on the B-3. It is a six-position rotary
switch whose functions are V1-OFF-V2-OFF-V3-OFF. Chorus
is selected by a toggle mounted on the stationary part
of the music rack.

----------------------------------------------------------------------------

Model C

Production Years: Sep 1939 to Jun 1942

Synopsis: Same as model AB but with different style (C cabinet)
woodwork. Cabinet has closed back and sides, extending
to the floor.
Cabinet Size: 48.75x47x46 (WHD, inches)
Finish: Walnut
Manuals: Swell and Great, 61 keys each.
Pedals: 25-note radiating, detachable.
Controls: 9 presets and 2 sets of 9 drawbars for each manual. 2
adjustable drawbars (16' and 8') for pedals.
Amp/Output: Internal preamp.

----------------------------------------------------------------------------

Model C-2

Production Years: Dec 1949 to Dec 1954

Synopsis: Same as Model CV but with additional controls which
provide vibrator on either or both manuals. Also
addtional controls for "NORMAL" or "SOFT" overall
volume.
Finish: Walnut
Manuals: Swell and Great, 61 keys each.
Pedals: 25-note radiating, detchable.
Controls: 9 presets and 2 sets of 9 drawbars for each manual. 2
adjustable drawbars (16' and 8') for pedals.
Amp/Output: Internal preamp only.

----------------------------------------------------------------------------

Model C-2G, C-3G, HR-40G (tone cabinet)

Production Years: C-2G June 52 to Mar 53, C-3G Jan 55 to TBD.

Synopsis: These consoles are identical in appearance to the C-2
and C-3 except that a monitor speaker is located on the
lower left hand side. The preamplifier in the C-2G is
designed to operate the monitor speaker. In the C-3G the
preamplifier is the same as in the C-3. A small
auxiliary amplifier drives the monitor speaker. In both
Models, B+ voltage from the tone cabinet is required to
make the monitor speaker operative. The HR-40G is
identical to the HR-40 except that it is equipped with a
standard 6 conductor cable which must be used in
conjunction with the C-2G console.
Manuals: Swell and Great, 61 keys each.
Pedals: 25-note radiating, detachable.
Controls: 9 presets and 2 sets of 9 drawbars for each manual. 2
adjustable drawbars (16' and 8') for pedals.

----------------------------------------------------------------------------

Model C-3

Production Years: Jan 1955 to 1974

Synopsis: Take a B-3's guts and put it in the C type church model
case.
Cabinet Size: With pedal keyboard and bench: 48.75x46x49.5 (WHD,
inches), 450lbs with bench and pedalboard
Finish: Walnut/Oak and speciality finishes. Later version in
both finishes less quatrefoil. US and UK cases are
slightly different.
Manuals: Swell and Great, 61 keys each.
Pedals: 25-note radiating, detachable.
Controls: 9 presets and 2 sets of 9 drawbars for each manual. 2
adjustable drawbars (16' and 8') for pedals.
Amp/Output: Internal preamp only.

Picture: C3, C3 in white

----------------------------------------------------------------------------

Model CV

Production Years: Sep 1945 to Dec 1949

Synopsis: Take a BV's guts and put them in a C type church model
case.
Finish: Walnut
Manuals: Swell and Great, 61 keys each.
Pedals: 25-note radiating, detachable.
Controls: 9 presets and 2 sets of 9 drawbars for each manual. 2
adjustable drawbars (16' and 8') for pedals.
Amp/Output: Internal preamp only.

----------------------------------------------------------------------------
Model D

Production Years: Jun 1939 to Nov 1942

Synopsis: Same as Model C but with additional tone generator and
appropriate switching to create chorus effect, as for
Model BC
Finish: Walnut.
Manuals: Swell and Great, 61 keys each.
Pedals: 25-note radiating, detachable.
Controls: 9 presets and 2 sets of 9 drawbars for each manual. 2
adjustable drawbars (16' and 8') for pedals.
Amp/Output: Internal preamp only.
Features: Lower octave of tone generator is wired to the manuals.

----------------------------------------------------------------------------

Model D-100

Production Years: 1963 to 1969

Synopsis: Same as RT-3 but with built-in sound system including
reverb control (in built PR40).
Cabinet Size: Same as RT.
Finish: D-152, Walnut. D-155, Oak.
Amp/Output: 50 Watts, 3 amplifiers, 2-12" and 2-15" speakers.

----------------------------------------------------------------------------

Model DV

Synopsis: Same as Model D but with Hammond vibrato, including vibrato

chorus. See BCV. None produced, kit added in the field.
Cabinet Size: Approximately 450 pounds, with bench and pedals.
Manuals: Swell and great, 61 playing keys each. 25 note radiating
detachable pedal keyboard.
Controls: 9 preset keys and 2 sets of 9 adjustable harmonic drawbars
for each manual; 2 adjustable drawbards (16' and 8') for
pedals. One expression pedal controlling swell, great, and
pedals.

----------------------------------------------------------------------------

Model E

Production Years: Jul 1937 to Jul 1942

Cabinet Size: 57x47-7/8x47-5/8 (WHD, inches) with pedal keyboard.
Approximately 579lbs, with bench and pedals.
Finish: Walnut
Manuals: Swell and great, 61 playing keys each. 32-note concave
radiating detachable pedal board, built to AGO
specifications.
Controls: 9 preset buttons and 2 sets of 9 adjustable harmonic
drawbars for each manual: For pedals - 4 numbered and
labeled toe pistons, 2 adjustable drawbars (16' and 8'),
and great to pedal 8' coupler. 2 expression pedals, one
for swell and one for great and pedals. Visual position
indicator of sliding rod type. Two expression pedals,
one for swell and one for great and pedals.
Features: Separate adjustable tremulants for swell and great
manuals. Standard main and chorus generator units; "ON"
and "OFF" switch for chorus.
----------------------------------------------------------------------------

Model E-100

Production Years: Jun 1965 to 1969

Cabinet Size: 48x26x48 (WHD, inches without bench), 410lbs with bench
and pedals.
Finish: Walnut, Mahogany
Manuals: Swell and great, 61 playing keys each. 25-note concave
radiating detachable pedal board.
Controls: One set of drawbars for each manual, 27 control tablets,
5 percussion voices, brush effect and cymbal, harp
sustain and 'vibrato celeste'.
Features: 76 tonewheel generator, photocell Expression pedal,
straight and reverb tube amps, some solid state for
features. E100 - pre-voiced percussions, Harp Sustain
and manual rhythm (Cymbal and Brush)
E200 - Institutional version of E-100 with locking top,
presets and stops adapted for liturgical music, no
rhythm, fewer percussions
E300 - Stripped-down version of E-100, no Harp Sustain,
no rhythm
Styles: E-111 Traditional in Mahogany
E-112 Traditional in Walnut
E-133 French Provincial in Cherry
E-143 Early American in Cherry
E-182 Italian Provincial in Walnut
E-262 Institutional in Walnut
E-265 Institutional in Oak
E-311 Traditional in Mahogany
E-312 Traditional in Walnut
E-333 French Provincial in Cherry
E-343 Early American in Cherry
E-382 Italian Provincial in Walnut

Picture: E100

----------------------------------------------------------------------------

Model G

Production Years: Jun 1941 to Nov 1944

Synopsis: [From the service manual...] "The Model G consoles and
tone cabinets were built for the Government, and now
will be found in use throughout the United States and
foreign contries in chapels of all services, Officers
Clubs, or recreation service buildings. The console is
identical to the Model D except for the decorative
woodwork and provision for detchable handles. The tone
cabinet (Model G-40) contains two amplifiers and four
speaker mounted in a horizontal row and is electically
similar to Model B-40 tone cabinets, but has a
reverberation control unit." Similar to C2-G, C3-G.

----------------------------------------------------------------------------

G100

Synopsis: Large church style organ with AGO 32 note pedalboard and stops
instead of drawbars.

Picture: G100
----------------------------------------------------------------------------

Model H-100 Series

Production Years: 1965 through 1974

Cabinet Size: 50 1/2" wide, 26 1/2" deep, 50" high with music rack,
445 lbs with pedals and bench.
Finish: H-111 Traditional styling in Mahogany
H-112 Traditional styling in Walnut
H-133 French Provincial in Cherry
H-143 Early American in Cherry
H-182 Italian Provincial in Walnut
H-195 Mediterrean in Oak
H-262 Institutional Model with locking roll
top...Walnut, some preset and other differences.
H-324 Comtempory in Pecan with built-in Auto-Rhythm
H-382 Italian Provincial in Walnut with built-in
Auto-Rhythm
H-395 Mediterranean in Oak with built-in Auto-Rhythm -
HX100 like H100 in X66 cabinet
Manuals: Two 61 note manuals with overhanging keys. 25 note
detachable pedalboard.
Controls: One expression pedal effecting both manuals and
pedals...tone compensated photo-cell type. Kick switch
mounted to pedal cancels vibrato "immediately". 9
presets and 2 adjust keys for each manual. 2 sets of 11
drawbars for upper manual, 2 sets of 10 drawbars for
lower manual. 4 pedal drawbars. 28 tabs for percussion,
vibrato, sustain, reverb, etc.
Amp/Output: Stereo amplification plus a bass channel. Two 8"
speakers and one 15" speaker. Mixture of solid-state and
tube circuitry.
Features: 96 tonewheel generator with self-starting synchronous
motor. Tones go up to a high B (around 8,000Hz), then
foldback. Foldback note: 16' goes all the way down, the
higher harmonic in the mixture drawbars does not
foldback. Reiteration, percussion touch control, harp
sustain, string bass, lots of vibrato/chorus controls,
reverb controls.

----------------------------------------------------------------------------

Model L-100

Production Years: 1967 to 1972

Synopsis: Spinet Model with mechanical tonewheel generator and
non-scanner vibrato.
Cabinet Size: 43.5x23x44.5 (WDH, inches)
Finish: L-101 - Traditional, Mahogany. L-102 - Contemporary,
Walnut L-103 - French Provincial, Cherry L-111 -
Traditional, Mahogany L-112 - Contemporary, Mahogany
L-122 - Contemporary, Walnut L-133 - French Provincial,
Cherry L-143 - French Provincial, Pecan - L16? had
folding lid - L100P portable version
Manuals: two 44-note offset manuals with a 13 note pedalboard. 9
drawbars upper manual, 7 for lower.
Amp/Output: Built in amp and speakers.
Features: Two levels of vibrato and chorus, small selection of
preset tabs, reverb with bright/soft settings.
Percussion and chorus adjustable inside the cabinet.
Picture: L100 (with 125 Leslie)

----------------------------------------------------------------------------

Model J-100

Synopsis: Non-tonewheel Spinet Model, transistor design, no drawbars.

----------------------------------------------------------------------------

Model M-100

Production Years: 1961 to 1968

Synopsis: Home style spinet with internal amplifier and speakers.
Cabinet Size: 113x62x93 (WDH, cm)
Finish: M-100: Traditional style, Mahogany
M-101: Contemporary, Walnut
M-102: French Provincial, Cherry
M-111: Contemporary, Mahogany
M-143: French Provincial, Pecan
M-162: Contemporary, Maple
M-165: Tudor, Maple
Manuals: Two 44-key offset manuals, 13 pedals.
Controls: 9 upper manual drawbars, 8 lower manual drawbars, 1
pedal drawbar. Tablets include Percussion (2nd, 3rd,
fast decay, percussion soft), Vibrato (small, chorus,
celete1, celeste2). Presets: 5 lower, 5 upper, 2 reverb,
1 volume.
Amp/Output: Internal power amplifier, main 2-12", reverb 1-8"
speakers.
Features: Mechanical tone generator with scanner vibrato, no
harmonic foldback. M100A had extra percussion features
and pedal sustain.

Picture: M102A

----------------------------------------------------------------------------

Model M

Production Years: 1948 to 1951

Synopsis: Home style spinet with an internal amplifier and
speaker. Mechanical tonewheel generator. Drawbars-only
organ, with no presets of any kind.
Cabinet Size: Mahogany
Manuals: Two 44-key offset manuals. 12 pedals.
Controls: 9 drawbars upper manual, 8 drawbars lower manual, 1
pedal drawbars. No percussion, simple vibrato.
Amp/Output: 11 Watts, 1-12" speaker.
Features: Mechanical tone generator and vibrato scanner, no
harmonic foldback. Pedal sustain feature, with
toe-switch mounted on the expression pedal.

----------------------------------------------------------------------------

Model M-2

Production Years: 1951 to 1955

Synopsis: Home style spinet with an internal amplifier and
speaker. Mechanical tonewheel generator. Drawbars-only
organ, with no presets of any kind.
Cabinet Size: Mahogany
Manuals: Two 44-key offset manuals. 12 pedals.
Controls: 9 drawbars upper manual, 8 drawbars lower manual, 1
pedal drawbars. Other controls on rocker switches.
Vibrato has four: upper (on/off), lower (on/off), select
(chorus/vibrato), vibrato depth.
Amp/Output: 11 Watts, 1-12" speaker.
Features: Mechanical tone generator and vibrato scanner, no
harmonic foldback. Pedal sustain feature, with
toe-switch mounted on the expression pedal.

----------------------------------------------------------------------------

Model M-3

Production Years: 1955 to 1964

Synopsis: Home style spinet with an internal amplifier and
speaker. Mechanical tonewheel generator. Drawbars-only
organ, with no presets of any kind.
Cabinet Size: Mahogany
Manuals: Two 44-key offset manuals. 12 pedals.
Controls: 9 drawbars upper manual, 8 drawbars lower manual, 1
pedal drawbars. Other controls on rocker switches.
Percussion has four: select (on/off), volume
(soft/normal), harmonic (3rd/2nd), decay (slow/fast).
Vibrato has four: upper (on/off), lower (on/off), select
(chorus/vibrato), vibrato depth.
Amp/Output: 11 Watts, 1-12" speaker.
Features: Mechanical tone generator and vibrato scanner, no
harmonic foldback. Pedal sustain feature, with
toe-switch mounted on the expression pedal.

----------------------------------------------------------------------------

Model Porta-B

Cabinet Size: Lower - 42Wx20Dx10H (inches), Upper - 42Wx24Dx12H (inches),

Assembled - 35H (inches).
Amp/Output: 15 Watts - two 6" round, two 7"x5" oval speakers, tone
cabinet conector.
Features: Mechanical tone wheel generator, two 44 note keyboards, 9
drawbars for upper keyboard 7 drawbars for lower
keyboard,one 16' for bass, lower keyboard, 13 note
pedalboard, 12 rocker switches, touch response percussion.

----------------------------------------------------------------------------

Model RT

Production Years: Jul 1949 to Sep 1949

Synopsis: Equipped with Hammond vibrato providing three degrees of
true vibrato and an "OFF" position, effective
simultaneously on both manuals, together with vibrator
chorus usable in three different degrees and "OFF".
Cabinet Size: 57x46-7/8x47-5/8 (WHD, inches)
Finish: Walnut.
Manuals: Swell and Great, 61 keys each.
Pedals: 9 preset keys and 2 sets of 9 adjustable harmonic
drawbars for each manual. For pedals, two adjustable
drawbars (16' and 8'). One expression pedal controlling
swell, great and pedals.
Features: Equipped with Hammond vibrato providing three degrees of
true vibrato and an "OFF" position, effective
 simultaneously on both manuals, together with vibrator
chorus usable in three different degrees and "OFF".

----------------------------------------------------------------------------

Model RT-2

Production Years: Nov 1949 to Jan 1955

Synopsis: Same as model RT but with controls which provide vibrato
on either or both manuals, also additional control for
"NORMAL" or "SOFT" overall volume.
Finish: Walnut.
Manuals: Swell and Great, 61 keys each.
Pedals: 32-note radiating, detachable.
Controls: 9 preset keys and 2 sets of 9 adjustable harmonic
drawbars for each manual. For pedals, two adjustable
drawbars (16' and 8'). One expression pedal controlling
swell, great and pedals.
Amp/Output: Internal preamp only.

----------------------------------------------------------------------------

Model RT-3

Production Years: Jan 1955 to 1973

Synopsis: Same as RT-2 but with Hammond percussion feature.
Finish: Walnut/Oak
Manuals: Swell and great, 61 playing keys each.
Pedals: 32-note detachable pedal keyboard.
Controls: 9 preset keys and 2 sets of 9 adjustable harmonic
drawbars for each manual. For pedals, two adjustable
drawbars (16' and 8'). One expression pedal controlling
swell, great and pedals.
Features: Pedal solo system has separate volume control, providing
the following solo effects: 32-foot bourdon, 32-foot
bombarde, 16 foot solo, 8-foot solo, 4-foot solo, 2- and
1-foot solo, also tablets for mute control and pedal
"ON". Weighs 525lbs.

Picture: RT3 (black and white)

----------------------------------------------------------------------------

S6 Chord Organ

Synopsis: Autochording organ.

Manuals: One 37 note manual.
Features: Three sections: Solo unit, Chord unit and Bass unit with
seperate volume controls. Solo unit is monophonic and driven
from the keyboard, the chord unit is driven from tabs (also
driving the bass). Very difficult to keep in tune. Two internal
speakers.

----------------------------------------------------------------------------

Model X-66

Production Years: May 1965 to 1972

Synopsis: Console organ with top octave tonewheel generator.
Manuals: Two 61 key manuals, 25 pedals.
Controls: 4 drawbar sets, 18 changeable presets.
Features: 49 note arpeggiator, stereo reverb, attack perdussion,
 sustain percussion, special X-66 tone cabinet (can be
connected to 122 and similar through Leslie kit 8066).
Non-traditional Hammond appearance, bench and organ
supported by steel columns.

Picture: X66

----------------------------------------------------------------------------

Model X-77

Production Years: 1967 to 1975

Manuals: Swell and Great, 61 keys each.
Pedals: 25-note radiating, detachable.
Controls: Eleven lower, ten upper, and four pedal drawbars. Foot
vibrato switch (vibrato provided in the tone cabinet)
Amp/Output: Internal preamp only.
Features: Console style with two 61-note manuals. Has a
self-starting, 96 frequency, tonewheel generator.
49-note arpeggiator, stereo reverb, attack percussion,
harp sustain, variable reiteration, alternating
reiteration, , cymbal and brush, music rack light.
Required a special X-77 tone cabinet for each version.
Wood console body on polished aluminum legs. Available
in Walnut, Cherry and Custom finishes.

Picture: X77

----------------------------------------------------------------------------

Model XB-2 (Hammond-Suzuki)

Production Years: Currently in production.

Synopsis: Portable keyboard, electronic simulation of a tone
generator Hammond.
Manuals: Single 61 key velocity sensing manual.
Controls: 9 drawbars, V1-3/C1-3, 2nd/3rd percussion with slow/fast
decay, keyclick, pitch wheel, mod/overdrive wheel,
volume, treble, bass.
Amp/Output: Internal preamp, drives 11-pin Leslie directly.
Features: 2 zone MIDI, keyboard splits, factory and user presets,
overdrive, harmonic foldback, Leslie simulation, LCD
display. Optional reverb. 11 pin Leslie output
connector, effects loop, expression pedal and footswitch
inputs.

Picture: XB2 front, XB2 back

----------------------------------------------------------------------------

Model XB-3 (Hammond-Suzuki)

Production Years: Currently in production.

Synopsis: Electronic simulation of tonewheel Hammond.
Manuals: Two 61 key velocity sensing manuals.
Pedals: 25 note pedalboard.
Controls: Two drawbar groups of 9 per manual and two drawbars for
pedals. Programmable harmonic drawbar foldback. Pitch
bend and modulation levers.
Features: Built-in digital reverb, vibrato, chorus, tube overdrive
effects. Assignable expression/volume pedal, assignable
foot switch/Leslie speed control. Bass, treble, reverb,
 overdrive, input volume, and total volume level knobs.
Vibrato/Chorus with upper/lower enable buttons. 2nd/3rd
harmonic with slow or fast decay and percussion buttons.
2 line 20 character LCD. 11 Pin female Leslie output
connector, L/R audio outputs, effects loop, headphone
jack, two sets of unbalanced inputs, 25 pin pedal board
connector, multi pin wheel box connector, MIDI
in/out/thru, MIDI sysex dump. 165 lbs. List price is
above $15000 US. (Reviewed in Keyboard July '94).

Picture: XB3 front, XB3 back

----------------------------------------------------------------------------

Model XB-5 (Hammond-Suzuki)

Production Years: Currently in production.x

Synopsis: Electronic simulation of a tonewheel Hammond.
Manuals: Great and Swell, 61 velocity sensitive keys each.
Controls: 9 drawbars per manual plus 2 for pedals (16' and 8').
Pitch bend and modulation/overdrive wheels.
Amp/Output: 11 Pin female Leslie output connector, L/R audio
outputs, effects loop, headphone jack.
Features: 2 zone MIDI per manual, 9 presets with RAM expansion
card for 28 banks of 9 presets each, extensive
programmability, LCD, Volume, treble, bass, and display
contrast controls. L/R external inputs, expression pedal
and footswitch inputs, MIDI in/out/thru, MIDI sysex
dump. 64 lbs. List price ~$7000; with console package,
pedal board, bench, stand, ~$10000 US. (Reviewed in
Keyboard October '93).

Picture: XB5 front, XB5 back

----------------------------------------------------------------------------

Model Novachord

Production Years: 1939 to 1942 (1069 made)

Synopsis: Polyphonic synthesiser.
Manuals: 72 note manual.
Features: 169 vacuum tubes, attack control, sustaining pedals,
500lbs. Plugs into PR-40 (but has internal speakers).

----------------------------------------------------------------------------

Model Solovox

Production Years: 1940 to 1948

Synopsis: 3 Octave valve based mono synth. Hell to keep in tune.

----------------------------------------------------------------------------

Model SY100

Production Years: 1974 to 1976

Synopsis: Same as S6 but with a swell pedal instead of a knee
lever.

Picture: SY100

----------------------------------------------------------------------------
Model T100

Production Years: 1968 to 1975

Synopsis: Transistor spinet organ with vibrato and repetative
percussion voices. Transistor amps, reverb, rythm units
and in built Leslie.
Cabinet Size: 45x25x44.5 (WHD, inches), 235lbs with bench
Manuals: 44 note swell and great, 13 pedals.
Controls: 9 drawbars per manual, 1 pedal drawbar
Amp/Output: 34W solid state internal amp with reverb.
Features: T100/111/112 - basic organ, no built in Leslie
T200 - as T100 with built in 2 speed Leslie
T211 - traditional red mahogany
T212 - traditional walnut
T222 - contemporary walnut
T233 - french Provincial cherry
T243 - early American cherry
T295 - mediterranean oak
T300 - as T200 with built in rhythm unit.

----------------------------------------------------------------------------

Model X-5

Synopsis: Full size transistor organ with tone cabinet and rythm unit.

----------------------------------------------------------------------------

Model R100

Synopsis: Full size organ with transistor amps and built in Leslie -
similar to E100.
Manuals: 61 note swell and great, 25 pedals.
Features: One set of nine drawbars for each manual, Hammond Rythem unit 2,
built in reverb.

----------------------------------------------------------------------------

- Hammond Tone Cabinet Models -

Model A-20

Production Years: Oct. 1935 to Oct. 1939.

Cabinet Size: 27" wide, 30" high, 15" deep.
Power: 20 Watts.
Speakers: 2-12" electrodynamic speaker.
Amp/Crossover: Parallel push-pull 2A3s, 2-56 triodes, 1-5Z3 rectifier.
Comments: Attractive cabinet with doors, makes a great bar.

----------------------------------------------------------------------------

Model A-40

Production Years: Oct. 1935 to 0ct 1947.

Cabinet Size: Utility cabinet 26.5" wide, 28" high, 19" deep.
Power: 40 Watts.
Speakers: 4-12" electrodynamic speakers.
Amp/Crossover: Uses two of same amp in the A-20.

----------------------------------------------------------------------------
Model B-40

Production Years: Nov. 1936 to Dec. 1947.

Power: 40 Watts.
Comments: Same as the A-40 in a seme decorative cabinet.

----------------------------------------------------------------------------

Model C-20

Production Years: Oct. 1937 to Mar. 1942.

Power: 20 Watts.
Amp/Crossover: Very early units used same amp as A-20. Later units had
4 6V6, 1 6SN7 and 1 5U4.
Comments: All C-20 cases were quite deluxe.

----------------------------------------------------------------------------

Model C-40

Synopsis: Spinette style cabinet. Same specs. as A-40.

Cabinet Size: 38 wide, 71 high, 27.5 deep.

----------------------------------------------------------------------------

Model CX-20

Production Years: Jan. 1939 to Mar. 1942

Synopsis: Same as C-20 with tremolo rotor, similar to Leslie bass
rotor. speakers were mounted on a "Vee" shaped baffle
with the rotor in the center.

----------------------------------------------------------------------------

Model CXR-20

Synopsis: Same specs as CR-20 with addition of the oil reverb unit.
Amp/Crossover: An additional preamp chassis with 2 6J5's and 2 6J7's
interfaced the reverb. On later units the tubes were 1 6SN7
and 2 6SJ7's.

----------------------------------------------------------------------------

Model D-20

Synopsis: Same as C-20 in a more utilitarian cabinet.

----------------------------------------------------------------------------

Model DR-20

Synopsis: Same as D-20 with addition of oil reverb. See CXR-20 for
description of amplifiers(s). On later versions, reverb preamp
was incorporated into the main amp. chassis.

----------------------------------------------------------------------------

Model DXR-20

Synopsis: Same as CXR-20 in a plainer case.

----------------------------------------------------------------------------
Model ER-20

Production Years: Mar. 1947 to Dec. 1950.

Synopsis: Same speakers, amps and reverb as late DR-20.
Cabinet Size: 31 wide, 38.75 high, 18 deep.

----------------------------------------------------------------------------

Model F-40

Production Years: Jan. 1948 to Dec. 1957.

Synopsis: Essentially a B-40 with revised woodwork dimentions to
accomodate a reverb unit. When so equipped, becomes
FR-40.
Cabinet Size: 32 5/16 wide, 39 3/16 high, 28 3/8 deep.

----------------------------------------------------------------------------

Model H-40 and HR-40

Production Years: Oct. 1948 to Feb. 1960.

Cabinet Size: 33-1/8 wide, 48 high, 16-7/8 deep.
Power: 40 Watts.
Speakers: 9-10" speakers for Bass and 2-12" for treble.
Reverb: R model has oil reverb which affects only the treble
channel.
Amp/Crossover: Two amplifiers similar to D-20 or DR-20 in early units.
Later units had both channels on one chassis and used 2
5U4's, 2 6SN7's, 2 6SJ7's, 1 6SC7 and 8 6V6's. Active
crossover at 200 Hz 12dB per octave.

----------------------------------------------------------------------------

Model JR-20

Production Years: March 1951 to Feb. 1959.

Cabinet Size: 29-3/4 wide, 39-3/4 high, 15-7/8 deep.
Power: 20 Watts.
Speakers: 4-10" Bass speakers and 1-12" treble speaker.
Reverb: Oil reverb in three degrees on both channels.
Amp/Crossover: Active crossover - 200HZ, 12db per oct. Amp uses 1 5U4,
4 6V6's, 2 6SJ7,s, 2 6SN7's and 1 6SC7.
Comments: Most B and C 2 and 3's were sold with this cabinet.

----------------------------------------------------------------------------

Model K-40 and KR-40

Synopsis: Same as H and HR-40 in utility cabinet.

----------------------------------------------------------------------------

Model P-40 and Q-40

Synopsis: Same as PR-40 and Q-40 sans reverb.

----------------------------------------------------------------------------

Model PR-20 and QR-20

Production Years: Feb. 1959 to Jul. 1963.

Cabinet Size: 31-1/2 wide, 37-1/2 high, 18 deep.
Power: 20 Watts.
Speakers: 2-15" bass speakers and 2-12" treble speakers.
Reverb: These cabinets use the three necklace dry reverberation
unit.
Amp/Crossover: Amp used 1-5U4, 1-12BH7, 2-12AX7's, 1-12AU7, 2-6AU6's,
6-6BQ5's and one 2N169 transistor for reverb recovery.
Three channels 0-200hz bass, 200+hz treble and treble
reverb.

----------------------------------------------------------------------------

Model PR-40 and QR-40

Synopsis: Same as PR and QR-20 except 2 5U4's, heavier transformers and

speakers.
Power: 50 Watts.

Picture: PR-40

----------------------------------------------------------------------------

Model Series 10

Synopsis: Solid-state for H-100, E-100, etc.

Power: 145 Watts.
Speakers: 1-15" and 2-8" speakers.

----------------------------------------------------------------------------

Model Series 12

Synopsis: Solid-state for the X-66 only.

----------------------------------------------------------------------------

Leslie Models

Model 16

Cabinet: Vinyl covered, grille cloth

Dimensions: 29" x 21" x 14"
Rotors: Single
Amplifiers: None
Speeds: Fast-Slow
Speakers: I
Belts: B
Motor-fast: 1
Motor-slow: 3
Notes: Special connector/for Combo Guitar amps
Hookup: Non-Standard

----------------------------------------------------------------------------
Model 18

Cabinet: Vinyl covered, grille cloth

Dimensions: 29" x 21" x 14"
Rotors: Single
Amplifiers: None
Speeds: Fast-Slow
Speakers: L
Belts: B
Motor-fast: 1
Motor-slow: 3
Hookup: Non-Standard

----------------------------------------------------------------------------
Model 21H

Cabinet: Wood
Dimensions: 41" x 29" x 20.5"
Rotors: 2- Bass/Treble
Amplifiers: Tube 40 watt w/ 4-6V6 finals
Speeds: Fast-Stop
Speakers: X,P
Belts: A,B
Motor-fast: ,1
Motor-slow: None
Notes: 21H was the first to use the modern 41" X 29" X 20.5 cabinet.
Top has single louvre on each side, divided in front, but top
louvres are now in the same direction as the bottom (tapered
side faces down). Otherwise, identical to 122. Single-speed,
both motors mounted downward. 32H power amplifier had four 6V6s
in push-pull parallel configuration. 30W amplifier w/p-p
parallel 6L6s was optional, as was a dynamic brake. The woofer
was an electrodynamic type.
Hookup: 6A

----------------------------------------------------------------------------
Model 22H

Cabinet: Wood
Dimensions: Unknown
Rotors: 2- Bass/Treble
Amplifiers: Tube 40 watt w/ 2-6550 finals
Speeds: Fast-Stop
Speakers: O,P
Belts: A,B
Motor-fast: 1,1
Motor-slow: none
Notes: Identical in appearance to the 122. Single speed. Has 15"
Permanent Magnet Jensen P15LL, and 3/4" Jensen driver. First
generation of modern amplifier using 6550 output tubes and 0C3
regulator. First series below serial 21500 uses 5U4 rectifier
section, amplifier rated at 35 watts. Later series serial 21500
to 24500 uses diode rectifier section, amplifier rated at 40
watts.
Hookup: 6A

----------------------------------------------------------------------------
Model 22R

Notes: Same as 22H, set up for field installation of reverb kit. Cabinet
has additional side louvers on each side for reverb speaker, with
internal back box for 6 X 9" speaker isolation. Top compartment is
slightly taller (center section is smaller) to allow room for reverb
amp installation on top shelf. First series below sn 40900 uses
amplifier as above; 40900 to 42500 use diode rectifier amplifier.
Reverb system includes: one 6 x 9" speaker; necklace-type spring
delay mounted on inside of LF cabinet wall; reverb amplifier using
p-p 7189 tubes mounted in top compartment.
----------------------------------------------------------------------------
Model 25

Cabinet: Wood
Dimensions: 34x29x18.5 (HWD inches)
Rotors: 1
Amplifiers: Tube 6L6 P-P
Speeds: Fast-Stop
Speakers: M
Belts: B
Motor-fast: 1
Motor-slow: none
Notes: Single speed, also called the Orpheus.
Hookup: 6B

----------------------------------------------------------------------------
Model 30

Cabinet: Unknown
Dimensions: Unknown
Rotors: 2 Bass/Treble
Amplifiers: Tube 20 watt
Speeds: Fast-Stop
Speakers: X,P
Belts: A,B
Motor-fast: NLA
Motor-slow: none
Hookup: Unknown

----------------------------------------------------------------------------
Model 31H

Cabinet: Wood
Dimensions: Unknown
Rotors: 2 Bass/Treble
Amplifiers: Tube 30 watt
Speeds: Fast-Stop
Speakers: X,P
Belts: A,B
Motor-fast: 1
Motor-slow: none
Notes: This was the first Leslie built for use with Hammond organs.
The case looked different to the later models, with a larger
bottom part. Also it featured at least 3 different amps, all
similar in appearance, but early ones used a toggle switch for
fast/off, latter ones had a hook up like the 122.
Hookup: Early - Non Standard, Late - 6A

----------------------------------------------------------------------------
Model 44

Cabinet: Wood
Dimensions: 33" x 28" x 21"
Rotors: 2 Bass/Treble
Amplifiers: Tube 40 watt
Speeds: Fast-Stop
Speakers: X,P
Belts: A,B
Motor-fast: 1
Motor-slow: none
Notes: Early 45
Hookup: 6B
----------------------------------------------------------------------------
Model 45

Cabinet: Wood
Dimensions: 33" x 28" x 21"
Rotors: 2 Bass/Treble
Amplifiers: Tube 40 watt w/ 6550 finals
Speeds: Fast-Stop
Speakers: O,P
Belts: A,B
Motor-fast: 1
Motor-slow: none
Notes: Early 45
Hookup: 6B

----------------------------------------------------------------------------
Model 46

Cabinet: Wood
Dimensions: 41" x 28" x 21"
Rotors: 2 Bass/Treble
Amplifiers: Tube 40 watt
Speeds: Fast-Stop
Speakers: X,P
Belts: A,B
Motor-fast: 1
Motor-slow: none
Notes: Early 47
Hookup: 6B

----------------------------------------------------------------------------
Model 47

Cabinet: Wood
Dimensions: 41" x 28" x 21"
Rotors: 2 Bass/Treble
Amplifiers: Tube 40 watt
Speeds: Fast-Stop
Speakers: O,P
Belts: A,B
Motor-fast: 1
Motor-slow: none
Hookup: 6B

----------------------------------------------------------------------------
Model 51H

Cabinet: Wood
Dimensions: Unknown
Rotors: 2
Amplifiers: 2 channel Tube - 40 watt rotor/? watt stationary
Speeds: Fast-Stop
Speakers: 2-F,O,P
Belts: A,B
Motor-fast: 1
Motor-slow: none
Notes: For 2 channel organs Rotor/Stat. or Main/Reverb
Hookup: Non Standard

----------------------------------------------------------------------------
Model 77L/77P
Notes: Made to work with the X77 Hammond, it has four 50W solid state
amplifiers, and a conventional upper rotor.

----------------------------------------------------------------------------
Model 122

Cabinet: Wood
Dimensions: 41" x 29" x 20 1/2"
Rotors: 2 Bass/Treble
Amplifiers: Tube 40 watt w/6550 finals
Speeds: Fast-Slow
Speakers: O,P
Belts: A,B
Motor-fast: 1
Motor-slow: Upper 2,Lower 3
Notes: For Hammonds A,B,C,RT,et. al.
Hookup: 6A

Picture: 122 (with a C3)

----------------------------------------------------------------------------
Model 122A

Notes: Same as the 122, but with a single motor on each rotor and a
tachometer circuit to control speed. (Motor type: 4 ?)
Hookup: 6A

----------------------------------------------------------------------------
Model 122A-T

Notes: Same as 122A except for textured black finish for rugged
professional applications.

----------------------------------------------------------------------------
Model 122R or V

Notes: Same as a 122 but with cut outs on one side for a reverb speaker and
Kit (option)

----------------------------------------------------------------------------
Model 122RV

Notes: Same as a 122 with reverb kit factory installed. Reverb speaker is a
6 x 9 type E (see table below)

----------------------------------------------------------------------------
Model 122XB

Notes: Electrically identical to the 122A except that it is configured with

an 11 pin connector to interface directly with the newer, Hammond XB
series.

----------------------------------------------------------------------------
Model 122XB-T

Notes: Same as 122XB, except with textured black finish and side handles
for rugged professional applications.

----------------------------------------------------------------------------
Model 125
Cabinet: Wood
Dimensions: 33" x 19" x 21"
Rotors: 1
Amplifiers: Tube 40 watt
Speeds: Fast-Slow
Speakers: M
Belts: B
Motor-fast: 1
Motor-slow: none
Hookup: 6B

Picture: 125 (with L100)

----------------------------------------------------------------------------
Model 130

Cabinet: Wood with "decorator" front

Dimensions: 30" x 27" x 20"
Rotors: 1
Amplifiers: Solid State 50 watt
Speeds: Fast-Slow
Speakers: B,M
Belts: B
Motor-fast: 1
Motor-slow: 2
Hookup: 11

----------------------------------------------------------------------------
Model 142

Cabinet: Wood
Dimensions: 33" x 29" x 21"
Rotors: 2 Bass/Treble
Amplifiers: Tube 40 watt w/ 6550 finals
Speeds: Fast-Slow
Speakers: O,P
Belts: A,B
Motor-fast: 1
Motor-slow: Upper 2, Lower 3
Notes: Shorty 122 cabinet
Hookup: 6A

----------------------------------------------------------------------------
Model 145

Cabinet: Wood
Dimensions: 33" x 29" x 21"
Rotors: 2 Bass/Treble
Amplifiers: Tube 40 watt w/ 6550 finals
Speeds: Fast-Slow
Speakers: O,P
Belts: A,B
Motor-fast: 1
Motor-slow: Upper 2, Lower 3
Notes: Shorty 147 cabinet
Hookup: 6B

----------------------------------------------------------------------------
Model 147

Cabinet: Wood
Dimensions: 41" x 29" x 20 1/2"
Rotors: 2 Bass/Treble
Amplifiers: Tube 40 watt w/6550 finals
Speeds: Fast-Slow
Speakers: O,P
Belts: A,B
Motor-fast: 1
Motor-slow: Upper 2,Lower 3
Notes: For most any organ.
Hookup: 6B

----------------------------------------------------------------------------
Model 147R or V

Notes: Same as 147 but with cutouts on one side of the cabinet for a reverb
speaker and kit (Option)

----------------------------------------------------------------------------
Model 147RV

Notes: Same as 147 with reverb kit factory installed. Reverb speaker is a 6
x 9 type E (see table below)

----------------------------------------------------------------------------
Model 222

Notes: Same as the 122 except decorator style cabinet (30" x 40" x 20")

----------------------------------------------------------------------------
Model 222R or V

Notes: Same as 222 but with cutouts in the cabinet for reverb speakers and
kit (Option)

----------------------------------------------------------------------------
Model 222RV

Notes: Same as 222 with reverb kit factory installed. Reverb Speakers are 2
6 x 9 type E (see table below)

----------------------------------------------------------------------------
Model 246

Notes: No information available form any know source. May not have existed.

----------------------------------------------------------------------------
Model 247

Notes: Same as 147 except decorator style cabinet (30" x 40" x 20")

----------------------------------------------------------------------------
Model 247R or V

Notes: Same as 247 but with cutouts in the cabinet for reverb speakers and
kit (Option)

----------------------------------------------------------------------------
Model 247RV

Notes: Same as 247 with reverb kit factory installed. Reverb speakers are 2
6 x 9 type E (see table below)

----------------------------------------------------------------------------
Model 251

Cabinet: Wood
Dimensions: 40" x 29" x 21"
Rotors: 2 Bass/Treble
Amplifiers: 2 Channel Tube 40 watt rotor/15 watt Stationary
Speeds: Fast-Slow
Speakers: 2-F,O,P
Belts: A,B
Motor-fast: 1
Motor-slow: 2
Notes: This was intended for use with the "Self contained" models like
the A-100 or the M-100.
Hookup: Non standard

----------------------------------------------------------------------------
Model 315

Notes: Same as 415 except different cabinet "Combo Professional"

----------------------------------------------------------------------------
Model 330

Cabinet: Vinyl
Dimensions: 37" x 29" x 21"
Rotors: 2 Bass/Treble
Amplifiers: Solid State 60 watt
Speeds: Fast-Slow
Speakers: O,R
Belts: A,B
Motor-fast: 1
Motor-slow: 2
Hookup: 11

----------------------------------------------------------------------------
Model 351

Notes: Same as 251 except decorator style cabinet (30" x 29" x 20.5")

----------------------------------------------------------------------------
Model 415

Cabinet: Wood
Dimensions: 30" x 27" x 18"
Rotors: 2 Treble/Roto-Sonic type C
Amplifiers: 2 Channel Solid State 140 watts
Speeds: Fast-Slow
Speakers: 2A,E,K,P
Belts: D,D
Motor-fast: 4
Motor-slow: 4
Hookup: 11

----------------------------------------------------------------------------
Model HL422

Notes: Same as 415 except made for Old Hammond B-3000 (Analog synth of the
B3)

----------------------------------------------------------------------------
Model 710
Cabinet: Wood
Dimensions: 41" x 29" x 21"
Rotors: 2 Treble/Roto-Sonic type C
Amplifiers: 2 Channel Solid State 90 watt
Speeds: Fast-Slow
Speakers: 2-S,N,P
Belts: A,B
Motor-fast: 1
Motor-slow: 2
Hookup: 9

----------------------------------------------------------------------------
Model 715

Cabinet: Wood
Dimensions: 42" x 29" x 21"
Rotors: 2 Treble/Roto-Sonic type E
Amplifiers: 2 Channel Solid State 215 watt
Speeds: Fast-Slow
Speakers: 2-D,S,N,P
Belts: A,B
Motor-fast: 1
Motor-slow: 2
Hookup: 11

----------------------------------------------------------------------------
Model 720

Cabinet: Wood
Dimensions: 42" x 28" x 21"
Rotors: 2 Bass/Treble
Amplifiers: 2 Channel Solid State 90 watt
Speeds: Fast-Slow
Speakers: 2-H,J,N,P
Belts: A,B
Motor-fast: 1
Motor-slow: 2
Hookup: 11

----------------------------------------------------------------------------
Model 722 also HL722

Cabinet: Wood
Dimensions: 42" x 31" x 21"
Rotors: 2 Treble/Roto-Sonic type E
Amplifiers: 2 Channel Solid State 215 watt
Speeds: Fast-Slow
Speakers: 2-D,S,N,P
Belts: A,B
Motor-fast: 1
Motor-slow: 2
Notes: Made for Old Hammond B-3000 (Analog Synth of a B3)
Hookup: 11

----------------------------------------------------------------------------
Model 723

Notes: No available information from known sources. May not have existed.

----------------------------------------------------------------------------
Model 730
Cabinet: Vinyl
Dimensions: 45" x 29" x 21"
Rotors: 2 Bass/Treble
Amplifiers: 2 Channel Solid State 90 watt
Speeds: Fast-Slow
Speakers: 2-H,M,N,P
Belts: A,B
Motor-fast: 1
Motor-slow: 2
Hookup: 11

----------------------------------------------------------------------------
Model 760

Cabinet: Vinyl
Dimensions: 43" x 28" x 23"
Rotors: 2 Bass/Treble
Amplifiers: 2 Channel Solid State 90 watt
Speeds: Fast-Slow
Speakers: N,P
Belts: A,B
Motor-fast: 1
Motor-slow: Upper 2, Lower 3
Notes: One of the most popular one-case Leslies.
Hookup: 9 (also Leslie Combo Pre-Amp II)

----------------------------------------------------------------------------
Model 770

Notes: Same as 760 except wooden case like 122/147 (41" x 29" x 21")

Picture: 770

----------------------------------------------------------------------------
Model 815

Cabinet: Vinyl
Dimensions: 44" x 28" x 21"
Rotors: 2 Treble/Roto-Sonic type E
Amplifiers: 2 Channel Solid State 215 watt
Speeds: Fast-Slow
Speakers: 2-D,S,N,P
Belts: A,B
Motor-fast: 1
Motor-slow: 2
Hookup: 11

----------------------------------------------------------------------------
Model 820

Cabinet: Vinyl
Dimensions: 31" x 25" x 19"
Rotors: 1
Amplifiers: Solid State 60 watt
Speeds: Fast-Slow
Speakers: L
Belts: B
Motor-fast: 1
Motor-slow: 2
Hookup: 11

----------------------------------------------------------------------------
Model 822 also HL822

Cabinet: Vinyl
Dimensions: 47" x 28" x 38"
Rotors: 2 Treble/Roto-Sonic type E
Amplifiers: 2 Channel Solid State 215 watt
Speeds: Fast-Slow
Speakers: 2-D,S,N,P
Belts: A,B
Motor-fast: 1
Motor-slow: 2
Hookup: 11

----------------------------------------------------------------------------
Model 825

Cabinet: Vinyl
Dimensions: 31" x 25" x 19"
Rotors: 1
Amplifiers: Solid State 70 watt
Speeds: Fast-Slow
Speakers: L
Belts: B
Motor-fast: 1
Motor-slow: 2
Notes: Hooks up to a Leslie Combo Preamp II
Hookup: 9

----------------------------------------------------------------------------
Model 860

Cabinet: Vinyl
Dimensions: 25" x 25" x 19"
Rotors: 2 Bass/Treble
Amplifiers: Solid State 120 watt
Speeds: Fast-Slow
Speakers: L,R
Belts: A,B
Motor-fast: 1
Motor-slow: 2
Hookup: 11

----------------------------------------------------------------------------
Model 900

Cabinet: Vinyl
Dimensions: unknown
Rotors: 2 Bass/Treble
Amplifiers: Solid State 100 watt
Speeds: Fast-Slow
Speakers: 2-F,N,P
Belts: ?,B
Motor-fast: 1
Motor-slow: 2
Notes: 2 piece road cabinet wit built in reverb
Hookup: 9

----------------------------------------------------------------------------
Model 910

Cabinet: Vinyl
Dimensions: 55" x 29" x 21"
Rotors: 2 Bass/Treble
Amplifiers: Solid State 100 watt
Speeds: Fast-Slow
Speakers: 2-F,N,P
Belts: ?,B
Motor-fast: 1
Motor-slow: 2
Notes: 2 piece road cabinet w/built-in reverb
Hookup: 9

----------------------------------------------------------------------------
Model 925

Cabinet: Vinyl
Dimensions: 55" x 29" x 21"
Rotors: 2 Bass/Treble
Amplifiers: Solid State 140 watt
Speeds: Fast-Slow
Speakers: 4-F,N,P
Belts: A,B
Motor-fast: 1
Motor-slow: 2
Notes: 2 piece road cabinet
Hookup: 9

----------------------------------------------------------------------------
Model 950

Cabinet: Vinyl
Dimensions: 68" x 36" x 23"
Rotors: 4
Amplifiers: Solid State 200 watt
Speeds: Fast-Slow
Speakers: 4-L
Belts: 4-B
Motor-fast: 4-1
Motor-slow: 4-2
Notes: 2 piece road cabinet w/ four independent visible rotors, and
black light effects
Hookup: 9

----------------------------------------------------------------------------

--- Warning ---

Real damage can occur if you connect a Leslie

incorrectly. While every reasonable effort has been made
to insure these pinouts and the Leslie references to them
are accurate, the Service Manual is the ultimate
authority on technical matters.

-------------------------------------------------------------------------

Type 11 (Contacts are numbered 1-11 counterclockwise, looking straight at

the female end of the cable or the back of your keyboard, presumably. Index
mark between pins 1 & 11.)

Pin # Function in a 900 series cabinet

1 Rotary (brown)
2 Main (if equipped)
3 Aux (if equipped)
4 circuit ground (yellow)
5 control supply common (green)
6 Cabinet on/off (Short to pin 5 to turn on) (blue)
7 fast motor control (violet)
8 slow motor control (gray)
9 n/c
10 n/c
11 +28.5v (white)

Here's the motor speed control table:

motor mode short pin #5 to:

off pins #6 only
slow pins #6 and #8
fast pins #6 and #7

----------------------------------------------------------------------------

Type 9 This is the most dangerous one because there are so many different
pin assignments there is almost no standard 9 pin connection.

(Pins are numbered counter-clockwise, viewing the rear of the male

connector. Index mark between pins 1 & 9).

Pin # Function in a 900 series cabinet

1 Ground
2 Signal input
3 No Connection
4 Reverb/Aux control. Goes to ground, ground thru a diode, or open.
5 +28V out.
6 Goes to ground for FAST.
7 Goes to ground for SLOW.
8 120V in.
9 120V in.

----------------------------------------------------------------------------

Type 6A (Pins are numbered counter-clockwise, viewing the rear of the male
connector. Index mark between pins 1 & 6).

Pin # Function
1 Ground
1 balanced input signal
2 gnd
3 117VAC input
4 117VAC input
5 310VDC Output (through 10kohm) for control voltage and early Hammond
preamps
6 balanced input signal

Bias pins 1 and 6 to 70V for slow speed, gnd for fast. This must be done
through an R-C network to develop a .5 to 1 second time constant to prevent
switching transients from coupling to the input stage of the amplifier. If
you do not understand the above statement, consult with a qualified service
technician.

----------------------------------------------------------------------------

Type 6B (Pins are numbered counter-clockwise, viewing the rear of the male
connector. Index mark between pins 1 & 6).

Pin # Function
1 Ground
2 117VAC to relay solenoid
3 117VAC input
4 117VAC input
5 117VAC to relay solenoid
6 unbalanced input signal

----------------------------------------------------------------------------

Belts

A) 522-045468
B) 522-011700
C) 522-020701
D) 522-141182
E) 543-111090
F) 522-021048

----------------------------------------------------------------------------

Motors

1) 521-014019 Fast Motor

2) 521-012526 Slow Motor (up)
3) 521-014795 Slow Motor (down)
4) 521-141105 Motor (Tach)

----------------------------------------------------------------------------

Speakers

A) 514-141153 2.52" - 8 ohm

B) 514-137316 3"- 8 ohm
C) 514-043125 6" x 9" - 8 ohm
D) 514-138879 6" x 9" - 8 ohm
E) 514-140431 6" x 9" - 8 ohm
F) 514-031062 6" x 9" - 16 ohm
G) 514-058214 6" x 9" - 16 ohm
H) 514-137610 8" - 8 ohm
I) 514-130540 10" - 4 ohm
J) 514-017202 10" - 8 ohm
K) 514-141069 12" - 4 ohm
L) NLA 12" - 6 ohm
M) 514-137348 12" - 8 ohm
N) 514-031070 15" - 4 ohm
O) 514-052308 15" - 16 ohm
P) 514-140491 Treble Driver (3/4" Throat)
Q) NLA 5" x 7" - 16 ohm
R) NLA Treble Driver
S) 514-058214 PN: 514-031062 w/ cover
T) NLA 15" - 4 ohm
U) NLA Treble Driver
V) 014-056646 PN: 514-138879 w/ cover
W) 014-056941 PN: ? w/ cover
X) NLA 15" - 16 ohm Electro Dynamic. Replace with type "O" and
place a separate choke of 2580 DCR in place of the field
coil.

----------------------------------------------------------------------------

Appendix C - Bibliography, Information Resources List (printed material,

folklore, interviews, etc).
Maintained by Ben "Jacobs" ([email protected])
This version was updated: 24-May-96 -- click to download latest version

-------------------------------------------------------------------------

Writings and other sources of information, pertaining to the

Hammond Organ and Leslie Tone Cabinet specifically, and to
electronic or pipe organ lore in general. Additions or corrections
welcome. Online Resources section has undergone rapid growth, may
soon reside in a separate document.

TABLE OF CONTENTS:
Magazine Articles / New Product Reviews
Service Manuals, Books, etc.
Videotapes
Online Resources
Homepages, Fan Pages, etc.

Ongoing Hammond technical discussion is available by e-mail! List

administrator is Mark Longo, contact at
[email protected]. To subscribe, mail to
[email protected] with "subscribe hammond" in the body of your
message.

-------------------------------------------------------------------------

Keyboard magazine

--------------------------------------

contact info:

mail: Keyboard Magazine, POB 58528, Boulder, CO 80322

phone: 1-800-289-9919 (subscriptions); 415-655-4308 (archives/warehouse)

Keyboard Central (WWW):

http://www.keyboardmag.com/

reprints:

mail: University Microfilms Int'l, 300 N Zeeb Rd, Ann Arbor, MI 48106
phone: 313-761-4700

--------------------------------------

articles:

title unknown, Sept/Oct 1976, p45

Michael Smokowicz (Organ Service Company) describes technique for
obtaining line out signal from a Hammond

"Jimmy Smith 'These Hands Are Weapons!'"

Robert L. Doerschuck, May 1988, pp 74-78.

"Historic Masters of the Jazz Organ (Burnin' on the Big Bad B-3)"
Geoff X. Alexander with Robert L. Doerschuk, May 1989
nice history of organ jazz and players
brief discography

"The Leslie Speaker, Part I", Vintage Synths, April 1990

history, mechanical description
 picture of Don Leslie (!)

"The Leslie Speaker, Part II", Vintage Synths, June 1990

more history, inner workings
list of shops/contacts

"The Hammond B-3, Part I", Vintage Synths, Sept 1991

history, mechanical description

"The Hammond B-3, Part II", Vintage Synths, issue unknown (Oct 1991?)
unknown: more history, mechanical description?

Special B-3 issue, Nov 1991

B-3 repair advice
tips on buying a used B-3
comparison reviews of various clones

"25 Hammond Licks You Must Know", Dave Amels, May 1994
short riffs, celebrity drawbar registrations

"Joey DeFrancesco / Ex-Hammond Backer Stands by the 'B'",

interview by Robert L. Doerschuck, July 1994, p12
comments about playing hammond gear
Danny Gatton, John McGlaughlin, etc.

Joey DeFrancesco, Career Update, Dec 1994, p15

Jimmy McGriff, Feb 1995, p14

comments on Hammond/Suzuki XB-3 vs stock B-3
what girls want to hear, etc.

--------------------------------------

Reviews of Clones in Keyboard Magazine:

E-MU VINTAGE KEYS, p142 - May 93

LESLIE SIMULATORS, p157 - Feb 90

Avalanche Brianizer, Dunlop Rotovibe, & Dynacord CLS 222

LESLIE SIMULATORS - May 95

Electro-Voice Fx70, Korg G4, Motion Sound Pro-3, and Voce Spin.

LESLIE PREAMPS - Oct 95

C.A.E. LTP 122 and Trek II UC-IA.

OBERHEIM OB-3^2 - Sep 95, p109; Nov 95, p20 (w/picture)

VISCOUNT D9E ORGAN MODULE, "Short Takes", p141 - Jan. 93

VOCE DMI-64 MARK II, "Short Takes", p143 - April 94

VOCE MICRO B, p108 - Aug. 93

"B-3 WANNABE ROUNDUP" - Sept 95

Hammond Suzuki XB-2 Version 2, Oberheim OB-3,
Peavey Spectrum Organ, Viscount D9, Voce Micro B II, & Voce V3.

"ORGAN SHOOTOUT", p54 - Nov. 91

XB-2, Rhodes VK-1000, Korg CX-3, Voce DMI-64 Mark II
(as compared to a B-3)
 -------------------------------------------------------------------------

Theatre Organ magazine

"It All Started Just 60 Years Ago - The Hammond Organ Company - A
Company that Created an Industry", Len Clarke, Jan 1995, pp20-24
journal of American Theatre Organ Society
single issues avail $2.50 (where?)

"Why I Love My Hammond Organ" (This & That), Nov/Dec 1995, p42
Charles Wood critiques his Hammond from a pipe organist's point of
view
...on the Theatre Organ Site http://wcbi.com/organs/whyham.htm

-------------------------------------------------------------------------

Recording-Engineer/Producer magazine

"Unearthing the Mysteries of the Leslie Cabinet", April 1981, pp130-143

Clifford A. Henricksen
Hammond FAQ Site http://ddi.digita
l.net/~bbaker/mystery/mystery.html

"Remoting the Leslie Organ Speaker", issue unknown

Don Foster

-------------------------------------------------------------------------

Audio Engineering Society (AES) journal

"Design of Electronic Organs (Part 1-2)", Winston Wells, Aug-Sept 1947

"Design of Electronic Organs (Part 3)", Winston Wells, April 1948
"Design of Electronic Organs (Part 4)", Winston Wells, Sept 1948

-------------------------------------------------------------------------

German Keyboard magazine (in German)

"The Hammond Story", ongoing series Sept 1989-Dec 1990

Dieter Enners

o Sep 89: the founding of the Hammond company, Hammonds early

products (clocks, bridge table)
o Oct 89: the development of the Model "A"
o Nov 89: the further development of the Hammond company until the
60's, marketing strategies...
o Dec 89: the history of the Hammond company since 1960
o Jan 90: tonewheels, drawbars, presets, Model A and AB
o Feb 90: Model BC, E, D, G, Player A-B
o Mar 90: Model BV, B-2, B-3 (and recpectively the C and RT models)
o Apr 90: the selfcontained models M, M-2, M-3, A-100, M-100, L-100,
P-100
o Jun 90: tube Leslies
o Aug 90: E-100, E-200, E-300, H-100, X-66, HX-100
o Oct 90: T-200, X-77, H-300, R-100, T-400, T-500 (last tonewheel
organ!)
o Dec 90: solid state Leslies

-------------------------------------------------------------------------

Sound On Sound magazine (U.K.)

 Title unknown, Nov 1994
short discussion of rotary speaker simulators

-------------------------------------------------------------------------

Down Beat magazine

"Jimmy Smith Sermonizing in the '70s.". Larry Birnbaum

Dec 15, 1977, pp 22.23, 57.

-------------------------------------------------------------------------

Melody Maker magazine

"Jimmy Smith - The Daddy of 'em All". Bob Houston,

Feb 1965, p9.

-------------------------------------------------------------------------

Jazz Times magazine

"Jimmy Smith: Baron of the B-3.". April 1990, p37

-------------------------------------------------------------------------

Original Schematics, Service Manuals, "Official" Hammond Publications

Reprint Hammond/Leslie service manuals (+ updates) available from:

GOFF Professional
175H Costello Road
Newington, CT 06111
Tel: 203-667-2358
E-mail: [email protected] (Al Goff)

Organ Service Company, Inc.

6475 Joliet Road, Suite B1 - West
La Grange, Illinois 60525
Tel: 708-352-8011
Fax: 708-482-9626

--------------------------------------

reprint service manuals for electric/electronic organs avail:

mail to Mario Mere ([email protected])

Fifty Years of Musical Excellence, Hammond Organ Company, 1984

document #H000-0088365
"official" history of Hammond Company, 1934-1984
many pictures, info (incl. Solovox and Novachord)

(also visit the Hammond FAQ site), and see Online Resources, below.

-------------------------------------------------------------------------

Books

Dictionary of Hammond-Organ Stops

Stevens Irwin
pub. G. Schirmer, New York, 3rd edition 1961 (orig. 1939)
intro to playing the "Hammond Electric Organ" technique, exercises
(incl. pedalboard)
 adaptation of common pipe organ registrations to Hammond
early 1996: this seems to be reappearing in used book shops!

Electric Organs: A Complete Catalogue, Textbook, and Manual,

Robert Eby, pub. Van Campen Press, 1953.
article on Hammond organ, pp97-104

The New Grove Dictionary of Jazz, ed. Barry Kernfield,

2 vols, pub. Macmillen Press Ltd (London), 1988.
various articles related to organs, artists, etc.

Organ Technique: A Basic Course of Study, Oswald G. Ragatz (1979)

LC CALL NUMBER: MT182.R33, 78-3244
pipe organ?

Organ Playing: Its Technique & Expression, A. Eaglefield Hull (1981)

LC CALL NUMBER: MT180.H9 1981, 81-1474
pipe organ? (author lived 1876-1928)

unknown: Hammond Organ Guide for Church Music (book of music)

unknown: A Church Organist's Guide for Playing the Hammond Organ

-------------------------------------------------------------------------

United States Patent Office, Washington, DC 20231

RE#23,323 and 2,622,693

original patents issued to Don Leslie
"incredibly entertaining documents"

-------------------------------------------------------------------------

Videos

Hammondology Series, vols 1-3, Tony LaBrasca producer, 1994-5

mail: B.T. Productions, P.O. Box 81, Itasca, IL 60143, USA
e-mail: [email protected]
www: B.T. Productions Homepage

Vol 1: history, settings, models, maint tips, ~60 min

(US$29.95)
Vol 2: "Jazz" feat. Paul Wagnberg (US$34.00 video, $43.00
w/CD)
Vol 3: "Gospel" feat. Stanley Spencer (US$34.00 vido only)
reviewed in Keyboard, Oct 1994, p32 (see ad on p151).
all 3 volumes highly acclaimed

-------------------------------------------------------------------------

Radio Programs

Interview with Don Leslie (All Things Considered, NPR, 1991)

transcript available: National Public Radio, Audience Services,
212-414-3232
history of the Leslie company, development of the rotating
speaker,
relations with Hammond company, sale of Leslie to CBS (1965)

-------------------------------------------------------------------------

Guide to Recordings
 CD World Reference Guide
publ. CD International, P.O. Box 22014, Milwaukie, OR 97269
tel 503-652-1291, fax 503-653-6917
available at Tower Records

(also see Online Resources, below)

-------------------------------------------------------------------------

Online Resources

Hammond tech e-mail list

(send mail to [email protected]: body="subscribe hammond")
(list admin by Mark Longo, [email protected])

Ongoing, well-informed discussion of Hammond-related topics.

Currently includes several equipment manufacturers and a number of
veteran techs.

(Intended for technical discussion only. Please post

artist/recording topics to the B3-Groove list (see below). Avoid
crossposting!)

Note: Hammond tech list mail is archived, avail from the Hammond
FAQ site (see below).

Hammond FAQ site (faq & site admin by Brad Baker, [email protected])
Hammond & Leslie model histories, maintenance info
postscript schematics, measured freq resp plots, etc.
service/parts vendor list, print bibliography
full archives of Hammond tech list discussion (RFC934 compliant)
related articles, info

text-only version of FAQ mailed to hammond tech list monthly (on

15th).

http://ddi.digital.net/~bbake r/faq.html (WWW browsers)

http://ddi.digital.net/~ bbaker/files/faq.txt (FTP text)

Shop/Vendor List (compiled by Mark Longo, [email protected])

techs, repair shops, equipment manufacturers, parts vendors, etc.
(available at the Hammond FAQ site)

Hammond Print Bibliography (compiled by Ben "Jacobs", [email protected])

list of known Hammond-related resources, in print, video, etc
online resources list [THIS FILE!}
download the latest version... http://www.well.com/user/
random/biblio.html
(also available at the Hammond FAQ site)

Hammond Grounds site (site maintained by Gilles Bacon, [email protected])

lots of artist info, bios, reviews, interviews, related articles
the (in)Complete Hammond Discography... HUGE!
Hammond-related musician/band pages

http://www.webcom.com/groove/hg/ (WWW browsers)

ftp://ftp.webcom.com/pub1/groove/www/hg/groove.faq (FTP text)

B3-Groove e-mail list (list admin by Gilles Bacon, [email protected])

(mail [email protected]: body="subscribe B3 your name")
Ongoing discussion of Hammond artists, recordings, live dates,
 related topics
(NOTE: many common subscribers w/ hammond tech list. Please avoid
crossposting!)

Theatre Organ Home Page (admin Jerrell Kautz, [email protected])

theatre organ info: http://wcbi.com/organs/
many Hammond images (old & new): http://wcbi.com/organs/hammond/

"EORG-L" Electronic Organ Mail List (University of South Florida)

(mail [email protected]: body="sub eorg-l yourfirstname
yourlastname")

Basic Organ Mail list - BOM (admin Steven Luttrell, [email protected])

(mail [email protected]: subject="basic organ mailing list")
organ discussion (Hammond, Wurlitzer, Estey, Lowry, Kimball, etc)

Commercial Products/Parts Vendors (for Hammond/Leslie gear):

Trek II Products (mod kits, parts): http://www.tweb.com/MITA/trek/
B.T. Productions (instructional videos):
http://www.webcom.com/~groove/bt/

New/Used Gear Prices, For Sale Lists, etc (various sources):

Theatre Organ buy/sell list (+ Hammonds)
http://wcbi.com/organs/ads.htm
New Gear Prices (Casey Palowitch) http://www.pitt.edu/~cjp/newgea
r.html
Used Gear Prices (Neil Bradley)
http://www.synthcom.com/usedlist.html
used gear (for sale) http://cord.iupui.ed u/~badrian/list.html
Trader's Connection http://www.trader.com/

Useful Synth/Keyboard/Effects Info Sites (various sources):

MITA, Int'l (Musical Instrument Technicians Association)

http://www.tweb.com/MITA/
(sources for parts, service manuals, info for many new & vintage
keyboards) (info on joining MITA, member directory, conference
info, etc)

Harmony Central (new products, reviews, discussion, etc)

http://harmony-central.mit.edu/

Analogue Heaven (analog synths!)

http://www.h yperreal.com/music/machines/Analogue-Heaven/

Online CD Sales / Title Search / Information (various sources):

telnet:
cdconnection.com
cdnow.com
WWW:
http://www.cdconnection.com/
http://www.cdnow.com/
(also check Yahoo under Entertainment:Music)
modem:
CD Connection 408-985-8982

--------------------------------------

Artist & Organ Collector Pages:

Barbara Dennerlein WWW page (maintained by Martin Roth)

 http://www.scsc.ethz.ch/~roth/dennerlein/
bio, extensive discography, audio samples

ELP / Keith Emerson page (unofficial)

http://bliss.berkeley.edu/elp/
ELP info, rumors, photos, etc.
fingerings for favorite K.E. riffs & ostinato figures (!)

Olaf Schjelderup's Hammond page

http://domen.uninet t.no/~osc/hammond/hammond.html
photos of Olaf's Hammond C3 (c.1960) & Leslie 122
detailed photos of filter cap replacement procedure, using Goff
kit

Juha-Pekka Palmulaakso's Hammond page

http://www.utu.fi/~juhpalmu/ hammond1.htm
photos of cutdown Hammond L-202S (inside & out), Dynacord DC200
rotating spkr cab

Lukas Rosenthaler's homepage

http://foto .chemie.unibas.ch/staff/lrosenth/lrosenth.html
GIF's, audio samples of Groove-T-Gang

-------------------------------------------------------------------------

Bibliography maintained by [email protected]

-------------------------------------------------------------------------

Appendix D - Essential Discography

Maintained by Gilles Bacon ([email protected])

-------------------------------------------------------------------------

The discography of All Recordings Ever Made That Include Hammond

Organ As A Main Or Accompanying Instrument That Anyone Thinks Are
Important is not included in this version of the FAQ. What is
included here are those recordings considered to be archetypical
of a particular genre or are otherwise noteworthy.

-------------------------------------------------------------------------

Listed by CD's artist name, w/ [organist in brackets next to the

name], or before the CD name. (Notable artists in parentheses.)
Dates are recording dates. C = compilation.

-------------------------------------------------------------------------

Jazz

* Davis, Wild Bill - Trio w/ Floyd Smith

o At Birdland, 1955, Epic/Columbia
o Impulsions, 1972, Black & Blue

* DeFrancesco, Joey
o Reboppin', 1992, Columbia
o Relentless, 1992, Big Mo'

* Donaldson, Lou
o John Patton, The Natural Soul, 1962, Blue Note
 * Holmes, Richard "Groove"
o Misty, 1966, Prestige
o Night Glider, 1973, Musidisc

* McDuff, "Brother" Jack

o (K. Burrell), Crash, 1963, Prestige

* McGriff, Jimmy
o The Countdown, 1983, Milestone

* Montgomery, Wes
o Mel Rhyne, Guitar on the Go, 1963, Riverside

* Patton, John "Big"

o (G. Green) Along Came John, 1963, Blue Note
o (G. Green) Blue John, 1963, Blue Note
o (G. Green) Let 'Em Roll, 1965, Blue Note
o (John Zorn) Blue Planet Man, 1993, Paddle Wheel

* Rhyne, Melvin
o Boss Organ, 1993, Criss

* Scott, Shirley
o (S. Turrentine) Queen of the Organ (Live), 1965, Impulse

* Smith, Jimmy
o (D. Byrd/H. Mobley/A. Blakey) A Date w/ JS Vols. 1&2, 1957, Blue
Note
o (L. Donaldson/K. Burrell/A. Blakey) JS At The Organ V. 1&2 1957,
Blue Note
o (L. Donaldson/K. Burrell/A. Blakey) The Sermon, 1957-8, Blue Note
o (L. Morgan/G. Coleman/A. Blakey) House Party, 1958, Blue Note
o (I. Quebec/J. McLean/Q. Warren) Open House/Plain Talk, 1960, Blue
Note
o (S. Turrentine/K. Burrell) Back At The Chicken Shack, 1960, Blue
Note
o (S. Turrentine/K. Burrell) Midnight Special, 1960, Blue Note
o (Quentin Warren/Donald Bailey) Crazy! Baby, 1960, Blue Note
o (Kenny Burrell/Jimmie Smith) ,The Master (Live), 1993, Blue Note
o (Q. Warren/Orch.) Bashin', 1962, Verve
o (K. Burrell/Grady Tate) Organ Grinder's Swing, 1965, Verve
o (Wes Montgomery/Orch.) The Dynamic Duo, 1966, Verve
o (S. Turrentine/K. Burrell), Fourmost (Live), 1990, Milestone

* Smith, Dr. Lonnie - Trio w/ John Abercrombie

o Purple Haze - Hendrix Tribute, 1994, Venus
o Foxy Lady - Hendrix Tribute, 1994, Venus

* Stitt, Sonny w/ Jack McDuff

o Stitt Meets Brother Jack, 1962, Prestige

* Young, Larry
o (T. Schwartz) Testifying, 1960, Prestige
o (J. Henderson, W. Shaw, E. Jones) Unity, 1964, Blue Note

* Willette, "Baby" Face

o Face To Face, 1962, Blue Note

-------------------------------------------------------------------------

Blues/R&B/Gospel
 * Dogget, Bill
o Doggett Beat For Dancing Feet, C1952-9, King
o Dance Awhile With Doggett, C1952-9, King

* Earl, Ronnie & the Broadcasters [Bruce Katz]

o Still River, 1993, AudioQuest
o Language of the Soul, 1994, Bullseye Blues

* Katz, Bruce
o Crescent Crawl, 1992, AudioQuest

* King, Albert
o J. Washington, Live Wire/Blues Power, 1968, Stax

* Levy, Ron (Wild Kingdom)

o B-3 Blues & Grooves, 1993, Rounder

* Peterson, Lucky
o (Melvin Taylor) Ridin', 1984, Isabel

* Spann, Otis
o Cryin' Time, 1968, Vanguard

-------------------------------------------------------------------------

Rock/Fusion

* Blind Faith [Steve Winwood]

o Blind Faith, 1969, Polydor

* Hendrix Experience, The Jimi

o Al Kooper, Electric Ladyland, 1968, MCA

* Santana [Gregg Rolie]

o Santana I, 1968, Columbia

* Spencer Davis Group [Steve Winwood]

o Gimme Some Lovin', 1967, EMI USA

* Williams, Tony Lifetime

o (John McLaughlin) Tony Williams Lifetime, 1970, Polydor

-------------------------------------------------------------------------

Funk/R&B

* Booker T. & the MG's [Booker T. Jones]

o Green Onions, 1962, Atlantic
o Soul Dressing, 1964, Atlantic

* Brown, James
o Bobby Byrd, Soul Pride: The Instrumentals, 1960-69, Polydor

* Funk Inc. [Bobby Whatley]

o Funk Inc., 1971, Prestige
o Chicken Lickin', 1972, Prestige

* Meters, The [Art Neville]

o The Meters, 1969, Josie
o Look-Ka Py Py, 1970, Josie
o Struttin', 1970, Josie
 * Parker, Maceo
o Don Pullen, Roots Revisited, 1990, Verve

-------------------------------------------------------------------------

Acid-Jazz

* Directions In Groove [Scott Saunders]

o Deeper, 1994, Verve

-------------------------------------------------------------------------

Various Artists

* Verve:
o Jazz 'Round Midnight: Organ, 1989, 841 448-2

* Blue Note:
o So Blue So Funky Vol. 1 (Blue Funk), 1991, CDP 7965632
o So Blue So Funky Vol. 2, 1994, CDP 8290922

-------------------------------------------------------------------------

Appendix E - Parts & Service Suppliers

Hammond & Leslie Shops

Version 1.22, maintained by Mark Longo ([email protected])

Last updated 10/96

This is a listing of people and companies who supply parts or service for
Hammond organs and related gear. While many of the people and companies
listed here have been frequently used and highly recommended by hammond list
members, many others have not.

Do not assume that a supplier is reputable simply because they are listed
here. ALWAYS seek referrals from the hammond list readership and elsewhere
before entrusting your equipment to a stranger.

-------------------------------------------------------------------------

North America

-------------------------------------------------------------------------

Advance Organ

Dave Lavingne
Nottingham, NH
Tel: (603) 679-2703

Comments:

Hammond/Leslie repair shop

Last update: 7/95

--------------------------------------------------------------------

All Brand Music Service

2860 W. Sylvania Ave.

 Toledo, OH 43613

Tel: (419) 472-3499, (472-FIXX)

E-mail: [email protected]
Contact: Bruce "Doc" Nelson (owner), or Matt "Fingers" Schad
(technician)

Comments:

Hammond and Leslie service, parts, modificaton, rebuilding,

and road-readying. Leslie Adapter Plates, preamps, reverb
units, percussion units, boosters with treble and bass
controls, and tube-style combo preamps. Buy, sell, trade.

Last update: 3/96

--------------------------------------------------------------------

Antique Electronics

Tel: (602) 820-5411

Comments:

Sell tubes for vintage gear. Reported as reliable.

Last update: 1/96

--------------------------------------------------------------------

B-3 Photographs

P.O. Box 1155

Delaware, OH 43015-1155

Contact: David Backus

E-mail: [email protected]

Comments:

Museum quality photograhs of two vintage B-3 organs. Photos

framed in real cherry or walnut to match the organs. E-mail
for brochure.

Last update: 7/96

--------------------------------------------------------------------

Bob Kames and Associates

4415 W.Forest Home Ave.

Milwaukee, WI 53219

Tel: 414-321-8633
Contact: John Kames

Comments:

Restores, repairs, buys, sells, Hammonds.

Last update: 3/96

 --------------------------------------------------------------------

John Brennan Organ Service

John Brennan
Ottawa, ON, Canada

Tel: (613) 228-3511

Comments:

Repairs to Hammond tonewheel organs and other electronic

organs/keyboards including the Korg CX-3

Last update: 5/95

--------------------------------------------------------------------

CAE Sound

1150 E. Santa Inaz

San Mateo, CA 94401

Tel: 415-348-2737
Contact: Peter Miller, organ tech for Front Street Studio

Comments:

Restores and modifies Hammonds and Leslies. Also

re-manufactures mechanical parts for Leslies. Peter Miller -
organ tech for Front Street Studio / Grateful Dead

Last update: 3/95

--------------------------------------------------------------------

John Carabello

P.O. 36
Whitman, MA 02382

Tel:(617) 447-5612

Comments:

restorer/seller of vintage Hammond gear. Also sells a video

from Hammond that shows B-3's being made on a production line
and some old Leslie demo records.

Last update: 3/95

--------------------------------------------------------------------

Celedonia Organ Service

1365 Center Ave.

Pittsburgh, Pa. 15229-1603

Contact:Kris Celedonia
Tel:(412) 734-1244 Voice/FAX
E-mail: [email protected]
Web: http://www.tweb.com/MITA/celedonia
 Comments:

Stock of used or rebuilt Hammond Organ parts including

printed circuit boards, keys & key modules, transformers,
motors and LSI chips.

Last update: 6/96

--------------------------------------------------------------------

Celestion Speakers

89 Doug Brown Way

Holliston, MA 01746

Tel: 508-429-6706
Fax: 508-429-2426
Last update: 9/93

--------------------------------------------------------------------

Dave Little Piano and Organ

Fremont, CA

Contact: Dave Little

Tel: 415-792-2626 (also 415-796-2626?)

Comments:

Sells new & used B-3's; also service, parts?

Last update: '92

--------------------------------------------------------------------

ELEC-TECH-PLUS

1906 Moulton Ave.

N. Muskegon, MI 49445

Tel: (616) 744-2197

E-mail: [email protected]
Contact: Jerry Houseman

Comments:

Technician of all electronic organs, including Hammonds

Last update: 4/96

--------------------------------------------------------------------

Electro Organ Service

4055 Cinnabar Dr.

Eagan, MN 55122

Tel: 612-454-1131
Contact: Jim Bensen
 Comments:

Hammond & Leslie repair, parts, service. Also, stock and sell
Jensen P15LLs, C15Ls, and Jensen V21s both reconed and
non-reconed. Advertise the "largest stock of Jensens in the
USA".

Last update: 2/96

--------------------------------------------------------------------

Electronic Instrument Service

4345 Detroit Avenue

Oakland, CA

Tel: 510-530-0112
FAX: 510-530-3228
E-mail: [email protected]
Contact: Bob Schleicher

Comments:

Repair, restore, rebuild, modify, buy and sell Hammonds and

Leslies since 1968. Also make custom Leslie connectors to
attach almost any model to any organ. Clients include Gregg
Rollie, Booker T. Jones, Sean Hopper, Greg Allman and others.

Last update: 12/95

--------------------------------------------------------------------

Electronic Keyboard Service, Inc.

406 Taylor Ave.

Annapolis, Maryland 21401

Tel: (301) 858-6050

E-mail: [email protected]

Contact: The Organ Grinder, John Ogle

Comments:

Service electronic organs, most makes and models since 1968.

Covers Baltimore and Washington DC,and most of Maryland and
Virginia.

Last update: 12/95

--------------------------------------------------------------------

Enrick Company

150 East 1st Street

Zumbrota, MN 55992-1522

Tel: (507) 732-5215

Fax: (507) 625-6570
Contact: Steve
Comments:

Manufacturer of Roll-or-Kari, a two piece hardwood dolly with

 straps that allow the easy rolling and carrying of an organ
or piano. Two wheels on each side retract with a cam-action
foot lever. Once the two halves are strapped together, the
organ can be rolled or picked up by four handles that fold
down when not in use.

Last update: 6/96

--------------------------------------------------------------------

Girardot Organ Service

Gold Hill, Oregon

Tel: (503) 582-1392

E-mail: [email protected]

Comments: Service of Hammonds & Leslies since 1955

Last update: 9/95

--------------------------------------------------------------------

Gospel Electronics

Albany, NY

Contact: Sarge

Comments: Hammond case parts fabricated

Last update: 4/96

--------------------------------------------------------------------

GOFF Professional

175H Costello Road

Newington, CT 06111

Tel: (860) 667-2358

Fax: (860) 667-3523
E-mail: [email protected]
Web: http://www.goffprof.com

Comments:

Restores and modifies both vintage and modern Hammonds and

Leslies, sells parts, repair kits, upgrade kits for vintage
gear. Also sells updated manuals for vintage gear with
corrections and extra info not in the original manuals. Tech
for many major touring acts.

Last update: 6/96

--------------------------------------------------------------------

Hammond Suzuki USA

733 Annoreno Drive

Addison, IL 60101-4315
 Tel: 708-543-0277
Fax: 708-543-0279
Voice Mail: 1-800-878-1484
Contact: Ray Gerlich, tech support

Comments:

Current manufacturer of new Hammond organs and Leslies,

including the Hammond XB-2, XB-3, XC-3 and others.

Last update: 12/95

--------------------------------------------------------------------

Richard Haymon Organ and Amplifier Repair

110 Riverview, Ave.

Middletown, R.I. 02842

Tel: (401)846-9563
E-mail: [email protected]

Comments:

Service and sales of Hammonds and Leslies, also specialize in

repair of tube based amps. Custom work includes MIDIfying
Hammonds, cut-downs, beefing up Leslies, etc. Can supply tech
support online.

Last update: 7/96

--------------------------------------------------------------------

International Components Corporation

105 Maxess Rd.

Melville, NY 11747

Tel:1-800-645-9154, 516-293-1500
Fax: 516-293-4983

Comments:

Dealers of over 2000 types of vacuum tubes for all

applications

Last update: 8/95

--------------------------------------------------------------------

Keyboard Engineering Inc.

4160 NE Sandy Blvd.

Portland, OR 97212

Tel: 1-800-321-3742
FAX: 503-284-4856
Contact: Chuck Cordier
E-mail: [email protected]

Last update: 9/95

 --------------------------------------------------------------------

Keyboard Exchange International (a.k.a. B-3 World)

8651 Portside Ct.

Orlando, FL 32817

Tel: 407-671-0730
FAX: 407-671-2272

E-mail: [email protected]

Comments:

Refurbish B-3's, buy & sell Hammonds & Leslies. Nationwide

pickup of B-3's, C-3's, A-100's and 122, 147, 145 Leslies;
finder fees paid.

Last update: 1/96

--------------------------------------------------------------------

Keyboard Products

10950 Tuxford St.

Sun Valley, CA 91352

Tel: 818-504-9931
Contact: Bill Beer

Comments:

Buys, sells, restores and modifies Hammonds and Leslies.

Last update: 9/92

--------------------------------------------------------------------

Keyboard Rebuilders

3454 Morning Glory Avenue

Baton Rouge, LA 70808

Tel: 504-343-2369

Comments:

Restores and modifies Hammonds and Leslies. Supplies

reproduction B-3 cases and parts, benches, pedals. Supplies
reproduction Leslie cases and moldings. Has a portable B-3
with minimum size Leslie case.

Last update: 1/95

--------------------------------------------------------------------

Keyboard Service

P.O. Box 41481

Charleston, SC 29423-1481

Tel: 803-696-5397
 E-mail: [email protected]

Comments:

In-shop and on-site repairs of any make/model/year electronic

organ, electronic piano or keyboard.

Last update: 12/95

--------------------------------------------------------------------

Keyboard Specialties

775 50th Ave N.

St. Petersburg, FL 33703

Tel: 813-528-1813

Comments:

Restore/refurbish A-100/B-3/C-3 Hammond organs and tube-type

Leslie speakers. Products include proprietary custom
upgraded/modified B-3's [Superstock(tm)], proprietary
velocity sensitive MIDI systems for the B-3 [MIDI-B(tm)], and
B-3's in high quality custom designed portable cases.
Professional tour support, B-3/Leslie rentals, authorized
Trek and Hammond-Suzuki dealer.

Last update: 7/96

--------------------------------------------------------------------

Keyboard Studio

304 N. Maple Street, #203

Urbana, IL 61801

Contact:Gordon Wilson, Owner

Tel: (217) 328-3975, (800) 821-1197
FAX: (217) 328-3983
E-mail: [email protected]

Comments:

Works on new and old Hammonds, Leslies, and other modern

digital keyboards

Last update: 9/95

--------------------------------------------------------------------

Keyboard Systems

3637 East 7800 South

Salt Lake City, UT 84121

Tel: 801-943-7888
Fax: 801-943-7889
E-mail: [email protected]
Web: http://www.tweb.com/KeyboardSystems/

Comments:
 Maker of "MIDI-PLUS MIDI Retro Kits" MIDI retrofit kits for
DC keyed or audio keyed organs. Source for all pre-1985
Lowrey parts and manuals, "Electronic Cross Reference Master"
software, ICs, transistors, tubes and Top Octave (TOS) chips.

Last update: 6/96

--------------------------------------------------------------------

Klos Associates

Edison, NJ 08817

Tel:(908) 985-4376
E-mail: [email protected]

Comments:

Repair (New Jersey only) of Hammond organs, Leslies,

Farfisas, Wurlitzer electric pianos, tube amps, most other
keyboards and amps. Used Leslies, Farfisas, etc., for sale.

Last update: 9/95

--------------------------------------------------------------------

MANUALS

PO Box 220
Yarmouth Port, MA 02675

E-mail: [email protected]

Comments:

High quality photostats of vintage Hammond organ manuals with

full size schematics (not reductions).

Last update: 10/95

--------------------------------------------------------------------

M&S Organ Service

Chicago Avenue
Chicago, IL

Comments:

Used Hammonds, Leslies, etc.

Last update:

--------------------------------------------------------------------

MCM Electronics

Dayton, Ohio

Tel: US:800-543-4330, Canada:800-824-9491

 Comments:

Supplier of tubes for old Hammonds, Leslies, etc.

Last update: 3/95

--------------------------------------------------------------------

Maryland Organ Service

7 Deer Pass Ct.

Cockeysville, MD 21030

Tel: (410) 666-2264

Contact: Ted Thompson
E-mail: [email protected]
Web: http://www.bcpl.lib.md.us/~tthompsn

Comments:

Service of vintage Hammonds, Leslies, Leslie rebuilding,

parts available for vintage gear. Also do work on other
brands.

Last update: 4/96

--------------------------------------------------------------------

Matthews, Dave

95 E. Griffith Way
Fresno, CA 93704

Tel: 209-222-4120 or 408-279-8233

Comments:

Restores and modifies Hammonds and Leslies.

Last update: 9/92

--------------------------------------------------------------------

McAdoo Piano & Organ Co. Ltd.

1365 Midland Ave.

Kingston, Ontario
K7L 4W5

Tel: (800) 267-2237, (613) 384-2600

Also located at:

346 North Front St.

Belleville, Ontario
K8P 3C7

Tel: (613) 966-5001

Comments:

Buy/sell/service new and used Hammonds, parts. Dealer of

 Hammond and Allen.

Last update: 5/96

--------------------------------------------------------------------

Mcintyre Organ Repair Center

11782 Sand Point Way NE

Seattle WA

Tel:206-364-3615

Last update: 9/95

--------------------------------------------------------------------

Meiner's Music

4274 El Cajon Boulevard

San Diego, CA

Tel: 619-280-2075

Comments:

Rebuilding/repairing old Hammond organs.

Last update: 12/94

--------------------------------------------------------------------

Melody Organ Service

3604 S. Foltz
Indianapolis, IN 46241

Contact: Walter Derr

Tel: 317-247-1729

Comments:

Works on most electronic organs and Leslies, including

Hammond, Wurlitzer, Conn, Baldwin, Kimball, Lowrey, Thomas.
Buys and salvages older organs for refurbishing and resale.
Currently has several old tone cabinets and many obscure
parts.

Last update: 5/95

--------------------------------------------------------------------

Numerous Complaints Music

1537-B Howell Mill Road

Atlanta, Georgia 30318

Tel: 404-351-4422
Fax: 404-351-4442
E-mail: [email protected]

Comments:
 Full service vintage keyboard dealer specializing in vintage
and new Hammonds, parts and accessories, Voce, and Motion
Sound. Also service Wurlitzer Elec pianos, Rhodes, and
Clavinets.

Last update: 6/96

--------------------------------------------------------------------

Organ Doctors

5318 N. High Street

Columbus, OH 43214

Tel: 614-548-6224

Comments:

Restores and modifies Hammonds and Leslies.

Last update: 9/92

--------------------------------------------------------------------

Organ Service Company of New Jersey

2229 Morris Avenue

Union, NJ 07083

Tel: 908-735-7552

Comments:

Restores and modifies Hammonds; restores Leslies.

Last update: 4/96

--------------------------------------------------------------------

Organ Service Company Inc.

6475 Joliet Road, Suite B1 - West

La Grange, IL 60525

Tel: 708-352-8011
Fax: 708-482-9626
E-mail: [email protected]
Web: http://www.tweb.com/MITA/hammond

Comments:

Excellent source of Service, parts and Technical/Owners

Manuals for pre-1986 Hammonds and Leslies.

Last update: 5/96

--------------------------------------------------------------------

Oz Keyboard Services

33 Joseph Court
 San Rafael, CA 94903

Contact: Les Reidenberg, owner

Tel: (ofc) 415-459-7854, (shop) 415-472-7854

Comments:

Leslie rebuilds, quick, excellent quality.

Last update: '94

--------------------------------------------------------------------

Pacer Electronics

2537 River Road. Number 3

Jefferson, LA 70121

Contact:Peter Gorey
Tel:(504) 899-8922

Comments:

Builder of cases for chopped organs, as well as

Hammond/Leslie repair. Many well known pro's among Peter's
clientelle.

Last update: 4/96

--------------------------------------------------------------------

Paul's Electronics

Portland, Oregon

Contact:Allen Beck (between 7-11 am)

Tel:(503) 239-8467

Comments:

Allen does highly reputable service and modifications of

vintage Hammonds and Leslies

Last update: 9/95

--------------------------------------------------------------------

Ray Prince

Toronto, Canada

Tel:(416) 921-5289.

Comments:

Hammond tech/repair person

Last update: 4/95

--------------------------------------------------------------------

Resurrection Electronics
 3504 King St.
Austin, Texas 78705

Tel: (512) 451-5900

Fax: (512) 323-5152
Contact: Bob Overton
E-mail: [email protected]

Comments:

sell, rebuild, and stock parts for the Korg CX-3, also do
work on Leslies.

Last update: 4/96

--------------------------------------------------------------------

Ronald N. Richards

Electronic Organ Service

Lowell, Massachusetts

Tel: (508) 453-4382

E-mail: [email protected]
Web: http://www.tiac.net/users/ronrich

Comments:

Repair most organ models. Has collection of parts, travels

through most of New England for service work.

Last update: 1/96

--------------------------------------------------------------------

Schneider Organ Service

607 Larch Ave.

La Crescent, MN 55947

Tel: (507) 895-2702

Fax: (507) 895-2702
Contact: John Schneider
E-mail: [email protected]

Comments:

MITA member. Hammond certified technician July, 1974. Service

on most makes and models of electronic organs since 1961.

Last update: 5/96

--------------------------------------------------------------------

Superior Organ Service

San Francisco, CA

Contact: Rolf Hoseman

Tel: (415) 626-4324
Fax: (415) 626-4324
 E-mail: [email protected]

Comments:

Hammond & Leslie repairs, modifications and parts. Service of

Hammonds since 1965.

Last update: 2/96

--------------------------------------------------------------------

Trek II Products

Contact: Michael Smokowicz

Tel: 908-214-9200
Fax: 908-214-9257
E-mail: [email protected]
Web: http://www.tweb.com/MITA/trek

Comments:

Products related to Hammond tone-wheel organs, such as

percussion units, leslie connectors and pre-amps, etc.

Last update: 4/96

--------------------------------------------------------------------

Vintage Tube Amp Service

Seattle WA

Contact: T. Warren
Tel:(206)783-8376

Comment:

Not specializing in Leslie amps but has done successful

repair work on them if you have a schematic.

Last update: 9/95

--------------------------------------------------------------------

Voce Inc.

62 Bergen Turnpike
Ridgefield Park, NJ 07660

Tel: 201-807-0545
Fax: 201-807-0879
E-mail: [email protected]

Comments:

Manufacturers of the V3 & Micro B II organ modules, Spin

rotating speaker simulator, and Electric Piano additive
synthesis electric piano module.

Last update: 9/95

--------------------------------------------------------------------
 We're Your Connection

33 Elm Street
Manchester, NH 03101

Contact: Daniel Gelinas, owner

Tel: 603-669-7260
E-mail: [email protected]

Comments:

Mail/local dealers and service of new/used Hammond/Leslie

gear (affiliated w/ House of Gelinas, New England Keyboard
Kingdom).

Last update: 12/94

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John Wolff Organ Service

97 Courcellette Rd.
Scarborough, Ontario

Tel: (416) 691-6013

E-mail: [email protected]

Comments:

Service to all makes of organs/keyboards, including Hammond

organs and Leslies. 25 years experience in organ service,
formerly service manager at Wurlitzer & Long & McQuade.

Last update: 7/96

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Young Music Co.

1115 S Jupiter
Garland, TX 75042

Contact: Tommy Young

Tel: (214) 272-2551

Comments:

Hammond Organs, Leslie Speakers, Grand Pianos Keyboards, P.A.

& Wireless Systems Sales, Rentals, Service

Last update: 5/95

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United Kingdom

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Clive Botterill - Hammond Service (UK)

2 Pine Grove, St Albans, Herts

 Tel: 01923 675782

Comments:

S/H Hammonds, Leslies, Service, Parts, Hire

Last update: 5/95

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Tiny Evans - Octavo Music

London

Tel: 0171 226 5795

Comments:

Hammonds/Leslies for hire

Last update: 5/95

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Paul Fletcher - Northern Organ Centre

7 Shadwell Park Court, Slaid Hill, Leeds LS17 8TS

Tel: 0113 266 7034

Fax: 0113 268 4799

Comments:

S/H Hammonds, Leslies, Service, Hire

Last update: 2/96

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Dave Major

Well-known London-based Hammond tech, No details available

Last update: 5/95

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NSSC - The Northern Synthesizer Service Centre

153 Sunbridge Road, Bradford, BD1 2NU, England

Tel: +44 (0) 1274 777 007

Fax: +44 (0) 1274 777 300
E-mail: [email protected]

Comments:

Hammond/Leslie repair shop since the 1960's.

Last update: 5/96

 --------------------------------------------------------------------

Bevis Peters

46 Harley Str
London UK

Tel: 0171 436 8732

E-mail: [email protected], [email protected]

Comments:

Repairs / buys / sells / plays tonewheel Hammonds and Leslies

in the UK.

Last update: 5/95

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PM Components

Location unknown

Tel: 01474 560521

Comments:

Useful source of valves

Last update: 5/95

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Sensible Music

London

Tel: 0171 700 6655

Comments:

Hammonds/Leslies for hire

Last update: 5/95

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Graham Sutton - Professional Keyboards

Tel/Fax: 1908 502425 mobile 0836 591268

114 Flavell Drive, Furzton, Milton Keynes, MK4 1AJ

Comments:

S/H Hammonds, Leslies, Service, Parts, Hire

Last update: 10/96

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European Continent
-------------------------------------------------------------------------

Hammond Times, Thomas Schneider

Staffelstrasse 8
CH-8045 Zuerich
Switzerland

Tel: +41 1 281 17 18

Fax: +41 1 281 02 18

Comments:

Hammond Technician, also parts and service for new and old
Hammonds.

Last update: 2/96

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Musik-Bertram

D-79011 Freiburg
Postfach 1153 Germany

Tel: +49 (761) 27-30-90

Comments:

Hammond dealer, builder of MIDI-Kit for Bass Pedals.

Last update: 12/94

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Organ Planet s.r.l.

Lissone (Mi)

Tel: ++39 465274

Fax: ++39 2459698

Comments:

Hammonds, Leslies, Spare parts, and some portable versions

based on L100 / M100 / B3 / C3 / A100, flight cases and
other.

Last update: 4/96

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Organ Studio

548 Via Piacenza

I-16043 Chiavari GE (Genova, Italy)

Fax: (0)185-308577 (English written...)

Tel: (0)185-321560 (English spoken)

Comments:
 Manufacturer of 2 piece chopped modified high powered
leslies, chopped 2 piece B-3's, and a spring reverb kit with
a tube pre-amp in it.

Last update: 4/96

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Scadinavia

-------------------------------------------------------------------------

Lauritz Arntzen (Norway)

Post box 152

9801 Vadsx
Norway

Tel: 78952646
E-mail: [email protected]

Comments:

Source of HAMMOND and LESLIE valves (tubes). Minor repairs on

A100/B3/C3 and valve Leslies.

Last update: 10/96

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Pan Studios (Norway)

Valstadsvingen 2
Box 77, 2013 SKJETTEN, Norway

Tel: -47-63 84 33 30
Fax: -47-63 84 49 70
E-mail: [email protected]

Comments:

Sales, Service, and rental of Hammonds & Leslies.

Last update: 3/96

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Davenport Musik (Sweden)

Fiolstraket 9
903 53 UMEA, SWEDEN

Contact: Brian Davenport

Tel: +46 (0)90-125112

Comments:

Restorations and custom projects. Swedish magazine "MM"

claims he just finished a custom M100 for Roxette.

Last update: 11/95

 --------------------------------------------------------------------

Pianoverkstaden

Krykonvagen 1
S-80636 GAVLE, Sweden

Contact:Bill Miles
Tel: +46 (0)26-108788

Comments:

restores/repaires Hammond & Leslies, pianos etc.

Last update: 12/95

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Sjostrand Musik Electronics

Paternostervagen 23
S-12149 Johanneshov Sthlm Sweden

Contact:Malte Sjvstrand
Tel: +46 (0)8-6595040

Comments:

restores/repaires Hammond & Leslies, amplifiers, etc.

Last update: 12/95

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Torbjorn Solberg (private tech)

Sweden (Varmland)

Tel: +46 (0)570-83446

Last update: 12/95

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Australia

-------------------------------------------------------------------------

Keith Humbley

Sydney, Australia

Tel: +61 2 610 4151

Comments:

Vinatge Hammond and Leslie service

Last update: 9/95

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 Japan

-------------------------------------------------------------------------

Urban Music

3-35-1 Daita, Setagaya-ku

Tokyo 155 Japan

Contact: Kazuo Iwase

Tel: 81-3-3795-3571
Fax: 81-3-3418-3571
E-mail: [email protected]

Comments:

Hammond Organs and Leslies: sales, service, restoration,

modification, MIDIfication, parts, rentals. Also parts and
service for vintage analog synths and keyboards. service

Last update: 7/96

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Appendix F - Send in the clones (Hammond and Leslie simulators)

Maintained by Mark Longo ([email protected])

Last updated: 24-June-96

-------------------------------------------------------------------------

Keyboards

Hammond-Suzuki XB series:
XB-2, XB-3, XC-3, XB-5
(described elsewhere in FAQ)

Viscount (or Fujiha) D9

single manual drawbar organ

Out Of Production

Crumar Organizer
Single manual drawbar organ, percussion (c. 1970's)

Crumar T1
Single manual (61 note), 1 split, 9 drawbars, percussion, vibrato
and tremelo, 4 presets.

Crumar T2
Double manuals, two sets of 9 drawbars, one for each manual and
one set of 2 drawbars for playing the "lower tone" from the lower
manual.

Elka X-50
Single manual 9 drawbar organ, 6 non-editable presets, four
percussions (2nd, 3rd, 4th, plus octave below 3rd [5 1/3']);
Leslie simulator (single rotor); percussion volume, percussion
decay, keyclick and overdrive sliders; built in light-duty road
case, no MIDI.
Korg CX-3
Single manual 9 drawbar organ, adjustable key click, adjustable
2nd/3rd percussion, Leslie simulation, 3 drawbar presets, no MIDI

Korg BX-3
Double manual drawbar organ, 9 drawbars per manual, 3 static
presets, adjustable key click, v1-3/C1-3, adjustable 2nd/3rd
percussion, leslie simulation

Rhodes (Roland) VK-1000

Single manual drawbar organ, fully programmable, key click,
vibrato/chorus, percussion, Leslie simulation

Roland VK-09
Five octave single manual drawbar organ, selectable sine/square
wave, envelope shaping, key click, vibrato/chorus, percussion,
leslie simulation

WLM Organs

Made in Finland in late 70's and early 80's, there were 3 models:
TRIP, BEAT, & HIT. The organs used solid state analog tone
generation with 12 sub-divided oscillators. They were sold
primarily in the european market. There is an excellent Web page
with more detailed information and images at:

http://www.utu.fi/~juhpalmu/wlm.htm"

TRIP - Combo organ with two 5 octave double manuals.

HIT - Two 49-note manuals and a 13-note pedalboard. 9 drawbars and

7 percussion drawbars for the upper manual, 6 drawbars for the
lower manual, 4 drawbars for the pedals. Variable percussion
attack and sustain. Pedal attack and sustain. Vibrato. Spring-line
reverb. 7 presets. Lightweight (60kg, 132lbs) it folded into a
plywood, aluminum edged, road case which also served as a stand, a
very elegant design from the pictures of it on the Web page.

BEAT - A home model similar to the HIT that was available in 4 & 5
octave double manual versions, 13 note pedal board, and added a
simple rhythm machine and a built-in amplifier and rotating
speaker system.

Yamaha SK-15
Four octave single manual synth w/ 5 drawbars/sliders, 3 organ
presets, percussion, key click, chorus/vibrato, string section,
synth section, keyboard splits, Leslie simulation, no MIDI

Yamaha SK-20
Same features as the of SK-15 except with 5 octave manual, 7
drawbars/sliders, 11-pin Leslie connector

--------------------------------------------------------------------

Modules

Oberheim OB-3
re-labeling of the Viscount D-9e (see below)

Oberheim OB-3 Squared

New model manufactured by Oberheim. Very similar to the OB-3 in
form and function but with three MIDI channels (enables use of two
 keyboards and a set of MIDI foot pedals foot pedals), controllable
percussion, and reportedly improved sound.

Peavey Spectrum
single rack space module, 32 voices, 4 part multi-timbral, reverb,
Leslie simulation, vibrato/chorus overdrive, speaker simulation,
128 ROM presets, 4 waves respond to MIDI drawbars, MIDI program
changes, 16 bit wavetable sample synthesis. No percussion control.

Viscount (or Fujiha) D-9e

Table top (keyboard top) realtime drawbar module version of the D9
keyboard, MIDI control, 1 MIDI channel, percussion, key click,
adjustable overdrive, vibrato and Leslie simulation, 5
registration presets.

Voce Micro-B II
Half space rack module, 36 drawbar presets, adjustable key click,
v1-3/C1-3, adjustable 2nd/3rd percussion, adjustable overdrive,
Leslie simulation, complete MIDI control

Voce V3
Single rack space module, realtime MIDI control of drawbar
settings, drawbars detuned to equally tempered scale (like the
B3), programmable key click, v1-3/C1-3, programmable 2nd/3rd
percussion, programmable overdrive, Leslie simulation, effects
loop, EQ, patch storage, complete MIDI control

Out Of Production

Voce Micro-B (out of production)

Half space rack module, 36 drawbar presets, adjustable key click,
v1-3/C1-3, adjustable 2nd/3rd percussion, adjustable overdrive,
Leslie simulation, limited MIDI control

Voce DMI-64 Mark II (out of production)

Single space rack module, programmable

--------------------------------------------------------------------

Electronic Leslie Simulators

Digitech RPM-1
Single rack space analog/digital hybrid effect, 12AX7 tube pre-amp
w/ overdrive, no MIDI, dual rotor, knobs for overdrive, speed,
balance, mic spread. For more information see:

http://www.digitech.com/rpm1.html

A review of the RPM-1 is contained in the Hammond/Leslie FAQ at:

http://ddi.digital.n et/~bbaker/files/rpm1review.html

Dynacord DLS 223

Single rack space digital effect with reverb and distortion, dual
rotors, MIDI control.

Dynacord DLS 300

Software upgraded version of the DLS 223 for "improved rotor
structures".

Electro-Voice FX-70
repackaging of the Dynacord DLS 300
Korg G4
Oversized stomp box, dual rotors, knobs for volume, distortion,
speed, acceleration, mic distance and spread, for foot switches
for distortion, speed, stop, and bypass.

Rolls Rotorhorn
Single rack space, limited MIDI control

Voce SPIN
Half rack space analog effect, MIDI control, dual rotor, many
pre-sets, knobs for volume, balance, overdrive, MIDI channel, and
preset select.

Rotovibe & Uni-vibe - by Jim Dunlop Electronics

Single-rotor Leslie simulator; foot pedal (volume type) speed
control (no fast/slow switch); depth control. For more information
see:

http://www.jimdunlop.com/wahs.htm

Out Of Production

Avalanche Effects Brianizer

Stomp box, dual rotor, adjustable speed and accel/decel rates,
leslie/on/off, studio/stage settings

Dynacord CLS 222

Single rack space analog effect, dual rotors out of production
1993

Multivox LD-2 (a.k.a. Little David)

One of the first Leslie simulators, packaged as a 10" high replica
of a 122, non-mechanical, made briefly in the 1970's.

--------------------------------------------------------------------

Mechanical Leslie Simulators/Clones

Motion Sound PRO-3

The PRO-3 uses a rotating treble horn and a titanium driver in

tandem with a stereo/mono bass rotor simulation signal output
through 1/4" front panel jacks. You feed an organ signal to
PRO-3's 1/4" mono input, and patch the PRO-3 low frequency output
signal to a keyboard amplifier. The PRO-3's rotating horn
characteristics are modeled on the Leslie 147.

The PRO-3 dimensions are 6.5" x 20" x 16.5" and it weighs 26 Lbs.
The front panel is vertically centered on the left third of the
unit front. Two rails run along the bottom from front to back and
are designed to straddle the handle of a keyboard amp. The horn
compartment is vented so that about 60% of the sound comes through
the front and 40% through the rear and sides, simulating a 147
horn with the back off and turned around. The horn amplifier is 30
watts RMS with .3% distortion, and is very loud. For more
information see:

http://www.goffprof.com/pro3cat.html

A review of the PRO-3 is contained in the Hammond/Leslie FAQ at:

 http://ddi.digital.n et/~bbaker/files/pro3review.html

Motion Sound R3-147

The R3-147 Rack Mount System is effectively a fully sealed and

acoustically isolated unit containing a PRO-3 with internal
microphones and a 12AX7 tube pre-amp. The extensive front panel
gives the user control over treble rotor speed and accel/decel
rates, bass rotor simulator speed and accel/decel rates, control
of AM and FM components and open/closed bass cabinet simulations
in the bass rotor simulator. Left and right microphone controls
allow for close/distant mic'ing variations and treble/bass rotor
balance controls tailor the mix of high and low frequency sound.
Rotor fast/slow/stop can be controlled either via MIDI or through
a provided footswitch.

Out Of Production

Dynacord DC200

The DC200 is a combo amp with treble and bass rotors packaged in
separate enclosures. The treble enclosure is 63cm(25")W x
53cm(21")D x 35cm(14")H. The lower enclosure has the same width
and depth and is 79cm(31")h. Stacked height is 114cm(45"). The
upper enclosure contains the familiar pair of rotating horns (one
is a counter balance only) and is open on all four sides. The
lower enclosure contains a 15" speaker firing downward into a
rotating drum and open in the front only. The unit is trademarked
as the "Spacesound System".

The DC200 uses a 200 watt amplifier with separate volume controls
for the treble and bass rotors and a common set of bass and treble
knobs.

Dynacord is a German company but most of the components are

manufactured in Italy. It is not know if the DC200 was offered to
the North American market.

Echolette ME II

This unit appears to be a close relative to or copy of the

Dynacord DC200.

Solton

Two-box vinyl cabinet; upper a horn system like the PRO-3; lower a
drum system, including a small forward-facing horn. Amp included a
small mixer, and it looked like the rig could be used for
additional instruments independently of the whirly sound. A
European manufactured unit, it's not know if it was ever sold in
the US.

MS-Audiotron

Apparently this was a speaker-only unit, about 2' tall with treble
rotor and a statically mounted bass speaker. A Eurpopean
manufactured unit, it's not know if it was ever sold in the US.

-------------------------------------------------------------------------

Appendix G - Equipment Reviews, Schematics and Other Files

(these are available only on-line)

-------------------------------------------------------------------------

Equipment Reviews
Leslie 302 A smaller Leslie with a conventional treble horn, 12"
speaker, and electronic bass rotor simulation (by Mark Longo).

Blue Tube from Tubeworks. The Blue Tube is a rackmount device used for
tube generated overdrive and distortion type effects (by Mark Longo).

PRO-3 from Motion Sound. The PRO-3 uses a compression driven rotating
treble horn and provides an electronic bass rotor simulation signal for
your bass amplification system. (by Mark Longo).

RPM-1 from Digitech. The RPM-1 is a single rack space Leslie simulator
(by Bruce Wahler).

Results of the Hammond Clone Wars. The results are in! List members
tallied the score as the clones did battle. The top B-3 clones were
pitted against each other and a Goff-prepared B-3. Both dedicated and
clone-internal Leslie simulators were tested using a Goff-prepared 122
as a reference. (by Mark Longo.)

V-3 from Voce. The V-3 is a single rack space Hammond organ simulator.
It also has an internal Leslie simulator (by Bruce Wahler).

Hammond-Suzuki XB2 ROM Upgrade. This ROM upgrade provides a substantial

functional performance enhancement (by Mark Longo).

Schematics
b3-ps.zip (175k) B3/C3 schematics (8.5" x 11" Postscript)
b3sch-a.ps - ver 1.0, B3/C3 schematic diagram.
b3wir-a.ps - ver B, B3/C3 wiring diagram.
b3pre-a.ps - ver 1.0, B3 preamp, AO-28

les-ps.zip (54k) 122 and 145 Leslie main and reverb amplifiers (8.5" x
11" Postscript)
122mn-a.ps - 122 Leslie main amplifier schematic, ver 1.1.
122vb-a.ps - 122 Leslie reverb amplifier schematic, ver 1.0.
145mn-a.ps - 145 Leslie main amplifier schematic, ver 1.1.
145vb-a.ps - 145 Leslie reverb amplifier schematic, ver 1.0.

22h.gif (15k) 22H Leslie schematic

(contributed by Theodore Thompson [email protected])

Frequency Response Plots - 8.5" x 11" Postscript

pre-resp.zip (5.6k) Hammond B3 Preamp - Measured w/47k ohm source
impedance.
les-resp.zip (1.5k) 145 Leslie amplifier - w/16 ohm resistive load.

-------------------------------------------------------------------------

Use Ghostscript, Ghostview & GSview to view the PostScript files

-------------------------------------------------------------------------

Appendix H - Digests from the Hammond Mailing List

(these are available only on-line)

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