There have only been a very small handfull of truly new musical instruments invented since the piano forte in the 1720's - certainly up until the electronic synthesisers of the 1960s and 70's there were only two truly successful (and truly new) ones - the electric bass guitar - a truly new instrument brilliantly devised by Leo Fender - and the Hammond organ.

These instruments are not merely adaptions of earlier instruments - they are new creations for which whole new styles of music were created. And in both these cases there have been very few (if any) improvements to these first designs.

There is enough Hammond history elsewhere (an excellent and detailed version can be found here so I will keep this brief - Laurens Hammond (born 1895 in Evanston, Illinois) was a clever engineer and inventor in that exciting age when electricity was revolutionizing the world the same way the steam engine had - it seemed you could make electric versions of any and everything (much like people are trying to do now with digital technology).

As well as a bridge table that shuffled and dealt cards automatically (with a creepy rubber finger!), an automatic trasmission for automobiles and a 3D movie camera and viewing system it was his "tick-less" clock that set him up in business. Many of his early inventions (including the clock) focussed on the concept of the synchronous motor - that is a motor that was in phase with the 60 cycle alternating current that had become standard in the U.S.

There is a fascinating "semi-auto" biography of Laurens Hammond here which contains some fascinating insights to the man behind the instrument - like Leo Fender he never learned to play music but had a remarkable insight into the wants and needs of musicians and composers, and a great appreciation and understanding of music - which is rare in anyone - let alone in a gifted mechanical engineer and inventor.

The direct ancestor of the Hammond organ was the "Telharmonium" or "Dynamophone" (perhaps also an ancestor of the saxamaphone?). Patented in 1897 by Thaddeus Cahill, it worked on the principle of using dynamos to generate alternating frequencies relating to musical pitches but the invention was doomed by it's immense size and the lack of suitable playback equipment (this was of course long before the invention of the vacuum tube amplifier).

For people who think a B3 is a drag to move around picture the Telharmonium - it weighed 200 tons, was 60 feet long, took four people to play and could only be listened to over the telephone! (that is it made no noise of itself - except mechanical noise). Adding to these limitations it disrupted other telephone calls, suffered numerous breakdowns and produced an overall listening experience that was described as "highly irritating"!

It proved, however that musical tones could be produced electronically as alternating currents at different frequencies - Laurens Hammond's great innovation was to see that you didn't need a seperate motor for each note (once you could amplify the tones with vacuum tubes) but that a single motor with a very constant and regular rotation could drive a shaft from which many tones could be derived.

The most detailed description of the Hammond tone generator you'll ever find is here but briefly, the tones are created by rotating a small metal disc close to an electro-magnet (identical to an electric guitar or Rhodes piano pick-up). The speed of rotation and the number of teeth on the disc determined the pitch. It's an immensley complicated machine, there are 48 sub-assemblies geared to rotate at twelve different speeds, these sub-assemblies each contain two tonewheels an octave apart. The are 12 tone wheels with two teeth and twelve wheels each with 4, 8, 16, 32, 64, 128 teeth and seven tone wheels with 192 teeth. Combined with the twelve rotational speeds these provide all the (91) musical tones for the organ.

Now comes the really interesting part! A "normal" (or non-electric) instrument produces a fundamental tone overlayed with multiple harmonics which are related notes that add together to make up the particular timbre of the instrument. For example if you picture the tone of a flute, it's relatively free of harmonics, it's a fairly pure sound whereas a violin has many more prominent harmonics, giving that rich textured tone - the individual notes almost sound like chords if you know what I mean? (what's the difference between intervals and harmonics? My attempted explanation can be found here).

But the tone-wheels of a Hammond organ produce an extremely pure tone that is, in fact, too pure to sound realistic - it sounds like a dial tone. Laurens Hammond realized he would have to combine several tones together to produce the more complex waveform that conventional instruments produce but thankfully for history he decided to combine them in a unique way.

Instead of deciding on the harmonics and hardwiring them in, he built in "drawbars" which control the volume of each harmonic. With all drawbars pushed in the organ will produce no sound but as you pull each one out you can control the volume of that particular harmonic. For example if you play a middle C and pull out the first drawbar (only) the tone produced will actually be an octave below middle C. The next drawbar will produce a G (the dominant harmonic of C) and the next will produce actual middle C and so on.

The 256,000,000 combinations of settings or "registrations" are part of what gives the Hammond it's great potential for individual artistic expression - there are other factors that seperate the Hammond from all other electronic instruments however that no other musical instrument has - or can replicate.

For example - in order to tune an instrument to the Western standard of Equal Temperament, each note has to be 1.059463094 times the frequency of it's neighbour - but Hammond's tonewheels had to have a whole number of teeth (half a tooth would still produce a current and be the same as having another whole tooth) so this ratio was impossible. So Hammond had to shuffle the notes around a little and consequently a Hammond has it's own slightly different (and unique) tuning (or temperament).

Another very important factor in the sound is that the keys actually have nine seperate contacts underneath them which correspond to the nine drawbars - and because a keyboard key is a lever rather than a switch or button, these nine contacts close sequentially. As you press a Hammond key very slowly you will hear each drawbar sound one after another - while this isn't very noticable in ordinary playing it becomes a very important part of the sound in fast runs - if you play a very quick run with many drawbars out, the fastest notes will have a different harmonic content to the slower ones because occasionally you haven't closed all the contacts. On a digital version (except for Hammond-Suzuki's "New B-3" - which uses mechanical contacts) all the tones are produced instantaneously.

Perhaps the most important side effect of these nine contacts is the infamous key click - this is a soft "ffft" kind of sound at the start of a note, caused by the nine contacts closing almost simultaneously. This sound was seen as a defect by Hammond but it was never able to be eliminated. To the jazz organist it is a wonderful sound akin to the valve noise of a flute or saxophone.

Another interesting sound is the "generator cross-talk" - electromagnets picking up a little of the sound of their neighbouring tonewheel as well - this is why the tonewheels were paired in octaves, so the cross-talk wouldn't be dissonant but the overall effect is a slight blurring of the tones so that they sound less artificial or electronic.

Another essential ingredient is what has become known as "harmonic foldback". For some reason, Hammond decided to re-use some tone-wheels for the highest and lowest notes - probably it is just to balance the highest and lowest notes so they're not too high or low, the top drawbar would go beyond the range of the speaker cabinet and the bottom one would get too muddy(?) - whatever the reason it is an essential part of the Hammond sound - particularly when playing bass on the lower manual.

If you play a decending line near the bottom of the keyboard, the tone from the bottom drawbar will suddenly jump up an octave as you go down - some people find this inconvenient but most organists use it to throw interesting changes into their bass lines - sometimes the leap up or down is not where you would naturally think to put it and that can be an exciting thing, it inspires you to try more interesting lines.

The other essential Hammond ingredient was the chorus/vibrato circuit. "Chorus" is the sound of a regular shifting of phase of an audio signal - sort of a whooshing, underwater type of sound and "Vibrato" is a regular raising and lowering of pitch. Electronically it's very simple to get both of these effects from one circuit because the chorus effect is created by mixing the vibrato signal with the non effected signal (as the pitch of the vibrato signal is raised and lowered the sine waves get closer and further apart, thus moving in and out of phase with the non-pitch shifted signal). This feature was intoduced on the B-2 in 1949 and is created by a huge rotating capacitor assembly on the end of the main tone generator shaft.

All these new features ensured the Hammond's immediate and widespread popularity. Henry Ford, George Gershwin and "Fats" Waller were among many famous early customers. Soon Hammond organs were everywhere - in churches, accompanying radio plays and game shows, at ice rinks and baseball games (where some of them still are) and they soon began venturing onto bandstands and recording studios.

Fats Waller had made the first "jazz organ" recordings in 1926 on a pipe organ and was quick to realize the potential of the portable Hammond organ. Count Basie recieved some organ instruction from Fats Waller and a number of other early (pre-Jimmy Smith!) jazz organists appeared - Milt Buckner, Ethel Smith, Glenn Hardman etc.

It was "Wild" Bill Davis however who is credited with the invention of the "organ trio" - this is a unique and wonderful combination made possible by the fact that an organist can play bass on the pedals or lower manual (or in reality a combination of both) whilst supplying chords and melody on the manuals, supplimented by a guitar (usually, or sometimes tenor sax) and drums.

No other instrument can adequetly replace the bass in a band - for example piano trios often did without drums in order to retain two melody instruments and a bass-line. The organ trio undoubtedly produces the biggest sound of any trio in any genre of music - Bill Davis' idea was to replicate the sounds of a big band and pick up a lot of work in clubs that couldn't afford the extra players - it worked!

Bill Davis quit his job as Louis Jordan's piano player to pursue his experiment of the organ trio - so popular was the sound that Louis Jordan hired him back to play organ on selected records - the first really mass exposure the Hammond got (in jazz) - Louis Jordan's piano player at the time of Bill Davis' guest spots was Bill Doggett - noticing that Bill Davis was getting three times the money for playing the organ he decided to have a go and the Hammond trio began to spread.

It may have remained a passing fad however but for two events that were so fortuitous that it's hard to believe they weren't connected! In January 1955 the model B-3 replaced the B-2 and Philadelphian pianist Jimmy Smith switched to organ after hearing Wild Bill Davis.

Outside the world of jazz/blues organ the difference between the B-2 and B-3 is seen as being trivial - indeed many classical organists feel that the B-3 is overrated - in the world of jazz, blues and funk however there is only one model of Hammond organ - the B-3.

Like its predecessors it has two 61 note manuals (keyboards) with two sets of nine drawbars for each manual, a 25 note bass pedal board controlled by two drawbars, a chorus/vibrato circuit with three levels each of chorus and vibrato. The chorus or vibrato is selectable on or off for each manual independantly. There is an overall volume pedal for the entire organ.

It should be said that there are a couple of other models which are very similar to the B-3 and one that is exactly the same - the C-3 is a B-3 built into a "church" style cabinet - contrary to persistent rumours there are no differences between the two except the woodwork - people forget how important the cabinet style was in the 40's and 50's - indeed the Spinet models (I'll get to in a minute) have seperate model numbers depending on the style and colour of their woodwork! It seems strange now but it's only because the instruments have lasted so long that the world they were created in has become so drastically different to ours - anyway...

(As well as the identical C-3 there is the A-100 [which is a B-3/C-3 with built in amplifier and speakers] and there were also models with all the B-3 features and more as well, like the RT-3 and D-100.)

But the ingredient which differentiates the B-3 from the B-2 was the percussion feature. This circuit adds an attack to the notes, giving a sound closer to a piano or vibraphone - in fact the great Shirley Scott could do an incredible vibraphone impression using the percussion feature. There are two harmonic tones selectable, two decay times and two volume levels of percussion selectable. The percussion is only available on the upper manual on the B preset (the second set of drawbars from the left of the organ). The percussion is triggered from the ninth drawbar contact, so that when percussion is switched on there is no sound from the ninth drawbar (the percussion works best in my opinion! when the percussion tone itself is the highest sound so I've never needed the ninth drawbar and percussion at the same time - you can however change this keying source to any of the other drawbars if you wish).

The really cool thing about the percussion is that it allows another degree of expression due to the fact that it is "single triggered" - that is, the percussion effect is triggered by depressing a key but cannot be triggered again until that key is released - if you hold down that first note, all the other notes will sound without percussion. Although this was an accidental feature of the circuitry it allows you (once you're used to it) to add extra attack to certain notes.

I should point out that, while the percussion effect is single triggered, it doesn't make the organ monophonic per se - the percussion effect happens only once, but other notes can be played while the percussion effect is decaying - they'll simply share the decay characteristic of that first note. Once the percussion decays completely, all other notes will sound without percussion until you lift that first key. Also if you lift it briefly the effect will partially recharge, giving you an element of touch sensitivity (although it's time based rather than pressure based) - so for example you can play a series of fast notes (in the pattern of drumming your fingers for example - I don't know the musical term for that technique!) and, with the right timimg, you can choose wether to maintain the charge of the percussion effect or allow it to fade out the riff you're playing - you can choose the timing of the fade-out by periodically lengthening or shortening the time you hold down each note - the longer you hold down a single note, the quieter it will get - it's hard to describe but it's one of the greatest features of the instrument...

The percussion feature enabled the Hammond to interpret a whole new repertoire of material. It was no longer merely an "organ" - it was an entirely new musical instrument. The percussion allowed single note lines to stand out which they never had before - where the organ was previously used to simulate a horn section, now it could play single note solos and runs like a saxophone, trumpet or piano - as well as all the previous sounds available.

And, miraculously, at the same time this feature was introduced, Jimmy Smith came along with an artistic vision of the organ that made full use of all these features. Instead of trying to make the sounds of a big band on a budget Jimmy Smith played the B-3 as if it was invented for (or by!) him - no longer an electronic simulation of another instrument, the Hammond was now an instrument that melded the sounds of the electric guitar and vibraphone (both fairly new inventions at the time) with saxophone, flute and the sounds of the Sputnik spacecraft. It's hard to imagine how futuristic and revolutionary the sound must have been then - it's pretty far out even now (listen to Jimmy Smith's "Groovin' At Small's Paradise" from 1957 and compare it to other 1950's music!).

Also throughout the 1940's and 50's both electrical recording (microphones etc) and electric instruments on banstands were creating a revolution in how music could be played - for example a tenor sax could be played with a low, breathy tone into a microphone instead of having to wail to be heard - and singers could lay much more emphasis on particular notes - if a note is played quietly or intimately but is loud enough to be heard it carries a much different feeling to a note that is yelled or blared out - and the Hammond was able to use this new power of expression to probably greater effect than any other instrument.

Jimmy Smith's poularity and profile - as well as his newly created style and technique of playing the organ - inspired hundreds of other musicians to take up the instrument - it would not be an understatement to say that every organist that followed after Jimmy Smith was either directly inspired to do so or was directly influenced by him.

Among the greatest to follow Jimmy Smith were Jack McDuff, Jimmy McGriff, Richard "Groove" Holmes, Shirley Scott, Doctor Lonnie Smith, Reuben Wilson, Larry Young and many more in no particular order! It is very important to realize that, whilst these people were inspired to take up the organ by Jimmy Smith's example, none of them were copyists or imitators of him - they all had their unique and easily distinguishable sound.

In fact this is what proves the Hammond organ to be a "real" instrument like a piano or guitar - Rudy Van Gelder recorded a great number of Hammond organists for Blue Note records in the 1950's and 60's and they are all instantly recognizable from each other - even though they all played the same B-3 in Rudy's Hackensack and then Englewood Cliffs studios.

And it's important to remember that of all the artists to follow Jimmy Smith, either stylistically or just chronologically, none of them would dispute that Jimmy Smith is still the unrivalled virtuoso of the instrument, and the one who wrote the new language for this new instrument - even if you personally might prefer the style of another organist.

Now the other side of the Hammond equation is the Leslie speaker. It can hardly be over-emphasised how important the Leslie speaker is to the sound of the Hammond organ. The bizarre part of the story is that, even though 99.9% of material recorded on a Hammond organ has been played through a Leslie speaker and the two are thought by many people to be part of the same device - Laurens Hammond seemingly despised the Leslie Speaker and it's inventor and forbade the two devices to be sold together!

There is some excellent information on this strange story here but basically Don Leslie was an organist who thought he could improve the sound of his Hammond organ by adding a rotating speaker - the point was to simulate the way sound from a pipe organ reflects from all around in a church or large hall, and the way the various pipes interact with each other creating phasing and "harmonic beating" sounds. He attempted various means of spinning speakers around or rapid panning between stationary speakers (much like the Fender Rhodes piano would do twenty years later) but settled on a simpler approach.

Much like the B-3, the Leslie 122 became the archetypal Leslie speaker and featured two stationary speakers firing into rotating horns. The upper quarter (or so) of the cabinet houses a treble driver that fires upwards into a rotating horn arrangement - it looks like two horns but one of them is blocked and merely serves the purpose of balancing the operational one, reducing wear on the bearing.

The middle of the cabinet serves as a bass enclosure for the 15" woofer (and space for the 800Hz crossover and the motors) which fires downwards into a rotating drum in the bottom of the cabinet. This drum has a kind of ramp in it which directs the sound out horizontally. Both the upper and lower units can rotate at two different speeds, controlled by a switch affixed to the organ itself.

The result of this arrangement is a complex, whooshing, phasing, tremolo, vibrato type sound (?!) which is a major part of the "Hammond sound". The volume rises and drops as the horns point towards and away from you but also the pitch is raised and lowered by the Doppler effect. Along with all the reflections inside the cabinet and in the room itself it imparts a wonderful effect that Leslie described as "sound in motion".

Because of the length of bass frequency sound waves, the doppler effect isn't very noticable so the bottom drum mainly imparts amplitude modulation (it gets louder and softer) while the treble rotor produces both amplitude and frequency modulation. One of the coolest effects is due to the fact that the bottom rotor (originally made of plywood but later from stiff foam) is much heavier than the plastic treble rotor - it takes much longer to speed up and slow down - so you have the effect of the treble frequencies almost instantly changing and the bass frequncies gradually catching up - some of the greatest whooshing sounds come from the changing phase relationships as the rotors are moving at different speeds...

Don Leslie never advertised his products and yet he probably sold more Leslie speakers than Hammond sold organs - partly because many organists used two cabinets but also because many other brands of organ were wired to accomodate Leslie speakers as well.

Because the Hammond and Leslie combination were designed in an era when "electrical" musical instruments were brand new, they feature a rather odd (by today's standards) connection. The Hammond and Leslie are connected by a (usually) 6-pin cable which contains, not only a balanced audio signal, but also current for the relay (to change speeds) but also the AC for the Leslie amplifier itself (that is, a Leslie doesn't plug into the mains power itself - it takes it's power from the Hammond).

This means that you can't plug your guitar or other keyboard into a Leslie speaker like an amp - you need some extra hardware or serious re-wiring to do this. Fortunately nowadays you can buy preamp pedals that allow you to connect any 1/4" instrument to a Leslie (famous Leslie'd guitar sounds include Jimi Hendrix's "Little Wing" and the chorus of "Lucy In The Sky With Diamonds").

There are a great number of Leslie models, many of which were designed for use with other brands of organ but the king of Leslies is the 122, designed specifically for the B-3. The 147 is exactly the same cabinet with a different amplifier in it, designed for the Spinet models Hammonds.

The original 122 (and 147) amplifier is a beautiful thing. It is a very simple, clever push-pull design using two cathode biased 6550 power tubes, a solid state rectifier, a vacuum tube voltage regulator and a 12AU7 phase inverter. Because the console Hammonds are line level devices there is no preamp as such in a Leslie 122 amp.

Cathode biasing has two or three major advantages and one major disadvantage - for one thing you don't have to re-bias the amp when you change power tubes (useful for non technical people) also the power tubes last a bit longer and the "correct" bias level adjusts as you play - which, while being not a great technical advantage, gives a very characteristic sound - for example some of the most recorded and sought after guitar amps are cathode biased - many of the "Tweed" Fender amps and the Vox AC15's and AC30's.

The disadvantage of cathode biasing is much less power output (than fixed bias amps) and therefore less headroom and more distortion...Don Leslie probably chose this design for the reliabiltity and ease of service - remember most Leslies were destined to be installed in churches and used week in and week out without constant checking and maintenance - a fact which makes them so ridiculously reliable now - especially compared to modern equipment!

The Leslies intended installation in a church is also the reason for the arrangement where the Leslie draws it's AC power from the Hammond - so you don't have to climb up to the ledge where the Leslie is installed to turn it on - it simply turns on when the Hammond is on - this also makes a Leslie dificult to use as a stand alone amplifier - because there's no mains cord to plug in - the mains, speed switching voltage and audio all travel through the same six connector cable...

Now the two most controversial issues surrounding the Hammond organ are these - playing bass entirely with your feet and getting a B3 sound out of another type of keyboard - the short answer is both of these things are impossible!

Now I got a lot of abuse about the foot pedal thing from my old Hammond site and I'm just not going to get drawn into arguments this time - the problem is this - everyone assumes that Jimmy Smith played bass with his feet (Jimmy Smith used to tell people he was playing with his feet!) and therefore everyone should (or should be able to).

Like a lot of people I spent years learning to play bass with my feet until I realized that neither Jimmy Smith, Jack McDuff, Jimmy McGriff, Rueben Wilson or any other classic jazz organist ever did this!

A lot of people have made names for themselves as being "pedal players" but when you actually watch them you can see that the pedal solos only occur when there are only chords going on - now that's not as hard to do as you'd think - if you can play piano with the edge of your hand you can play a bass solo with your foot - but not while you're playing an interesting and relevant solo with your right hand...anyone who claims to be doing so is lying - just watch a video of their hands and feet at the same time to prove it - I wish the Hammond world would get over it's obsession with this false belief that some people play bass with their feet - you can hear the harmonic foldback - you can see the lack of movement of the foot - you can see the left hand playing the bass notes - and when there is a foot solo, why is there nothing else playing? This whole issue detracts from the beauty and uniqueness of the ability to play the Hammond organ - every piano player can "play" a Hammond but only a certain few people are able to play in a Hammond trio - it's not just coordination - it's a particular type of coordination that some have and others don't have...

Every Hammond trio gig I've done I've had someone come up and say "you were playing bass on the keyboard and pretending to play with the pedals" or "you were 'cheating'" and so on. But if you look on youtube and watch Jimmy Smith or Tony Monaco or Joey DeFrancesco, that's what you'll see - great players using both their hands and both their feet to make swinging, funky grooves that no other instrument can make - are they playing bass entirely with their feet? No they're not - no one does...

The reasons are that (obviously) no one has a flexible enough ankle or strong enough thigh muscles to play fast swinging basslines for more than a few bars (yes, please send me emails telling me that you do this all the time and that I'm just trying to justify my inability). Also of course it's unnecessary because good music doesn't have every space filled and there's no reason to have bass, chords and melody playing constantly together through a song. And thirdly, the bass pedals only have two drawbars and their tone is somewhat muddy and un-interesting on it's own.

I should also say that there's nothing wrong with doing bass solos with your feet - personally I've made a small gimmick of playing solos with my nose (fortunately my nose is big enough that I can focus with accuracy on the key I want to play - thus the bane of my high school social life has become an entertainment industry boon...)

What are the pedals actually good for then? There are several essential uses for the pedals - one is for playing slow ballads where you actually can play the basslines entirely with your feet, freeing up your left hand for both chords and for adjusting the drawbars - because it is in slow songs where the Hammond's lack of touch sensitivity becomes most noticable - so you need more changes of tone to compensate somewhat (also in ballads the lower manual chords will tend to mask the uninteresting tone of the pedals!)..

Another essential use in faster songs is to sit on the root note or (alternate I,V) for a while so you can swig some beer or change drawbar settings with your left hand. They're also great for holding a note at the end of a song so you can make silly sounds and play chords with both hands and your head. But their most musical purpose is to use them as a percussive effect - you tap on them in time with your (left hand) bassline - this is what Jimmy Smith and most other jazz organists do. It doesn't matter which one you tap on because you're only using it as an atonal "thud" - but the effect totally transforms the sound of your bass playing - you can get the effect of a double bass by accentuating certain notes more than others - it takes a bit of practice to get it properly in time but once you're used to it you can add a real touch sensitivity to the bass. Without using this pedal technique the basslines can sound very robotic and monotonous.

Of course you can also use them to double up certain phrases on the lower manual - though they're less expressive than the lower manual can be, they do carry more weight - you should think of them more as a bowed double bass type of effect rather than a regularly played bass though...

Of course the beauty of playing bass on the lower manual (as opposed to the pedals) is that you can make full use of the harmonic foldback as well as tailoring the tone of the bass to specific songs. And because the bass is quite a soft, warm sound you can play a few notes at a time or slurr the notes to get a more natural sound - listen to Jimmy Smith's "J.O.S." on the album "The Sermon" for an excellent demonstration of this.

Double bass of course tends to drift in and out of a song in volume depending on which string or where you are on the fingerboard and the Hammond has this similar effect - especially due to the harmonic foldback - I think this is one of the reasons the Hammond is so suited to jazz and blues rather than other types of music that rely more on the tone of the electric bass.

Of course this doesn't mean you don't need to practice playing the pedals - you need to be able to jump instantly to the root note at least when you get into difficulties - sometimes the Leslie wont change speeds or you hit two preset keys and they both pop up, leaving you with no sound...etc. In fact the pedal drawbars are the only tones on the keyboard that can't be inadvertantly cancelled out...

Of course as you get used to the controls and settings you find you use the pedals more and more - but they shouldn't be seen as the place where you "have to" play your basslines - they're and augmentative addition that allows you to do more than three things at once - in fact after a while it's hard to visualize which parts you play on which manual - which is the great beauty of becoming attatched to a Hammond organ!

As well as these effects you can do a sort of thump with your right hand on the lower manual - just hit four or five notes down near your left hand between beats (you can also use the octave above to do this in the manner of a boogie-woogie bassline - though usually back to front...if you know what I mean...I'm not sure I do) - also the upper end of the lower manual has a great tone and volume for chords behind another soloist (with standard bass settings of 838000000 or 846000000 or whatever).

Another great Jimmy Smith trick is to flop your hand down from the top manual to the same chord on the lower manual. Jimmy Smith often did this with the fantastic upper manual setting of 800008888 with a fast Leslie (as in "Mack The Knife" or 888888888 as in "The Champ").

If you rely on these techniques you can get a real double bass type of feel but it's still a uniquely Hammond tone - what a Hammond bass can't do is sound like an electric bass because the lower drawbars on their own don't have enough attack - there are add-on kits that can make it sound a little more like that but I think trying to sound like something else is a little like cosmetic surgery - it's a slippery slope!

Also I think it's a good idea in music generally to concentrate on what you are rather than trying to sound like something (or someone) you're not - for example if you could get a sound that sounded exactly like a bass player (acoustic or electric) you'd simply sound like a one handed organist with an invisible bass player - instead of exploiting the full potential of the trio format like the greats did - that's just my two cents.

Now the other controversial issue is wether you can get the sound of the B3 any other way than by carrying a 450 pound (204 Kilogram) organ up and down stairs and in and out of vans, station wagons and trailers. Obviously this is wishful thinking because if there was a way no one would ever move a B3 - let alone tour with them which hundreds of people are doing all around the world...

People used to tell me all the time as we manouvered the C3 up the narrow steps of Bachuus Wine Bar - "you know you can get portable ones now?" and as funny as this invariably was when you're sweating, straining and cursing with skinned knuckles, crushed toes and strained lower back - it's simply not true!

If you're playing rock, pop or even R&B in the nature of Booker T and the MG's you have a lot of options (that is if you have a bass player) - you could use a spinet model (L-100 being the lightest - M3 being the most B3 like...). Or you could use any of the clone keyboards.

If you don't want to move a B3, a digital Hammond is far and away the best option - a spinet doesn't really sound like a console and it doesn't have the same features - yet they weigh half as much as a console model - whereas a Hammond-Suzuki XK-3 sounds very much like a B3, has all of the B3 features (although not so conveniently laid out) and can be carried umder your arm...

If you do use a clone keyboard though, never use the in-built "Leslie" effect - use a real Leslie speaker! Preferably a 147 or 122...

No new musical instrument (or any other type of consumer product!) is made to the standards of quality and durability of a real B-3 though - you can keep maintaining a B3 literally indefinitely - yes you can still get the valves (and they should last for decades anyway) - and all the wiring, woodwork and metalwork is to the highest standard - they costed a small fortune when they were new - they weren't a "consumer" item by any means.

Which brings me to maintenance - if you have an old B3/C3 - you MUST replace the filter capacitor in the amp right away - turn it off right now and order one from one of the links below - it's the silver metal can type thing right next to the power transformer. If you don't it will blow up your power transformer which is not the end of the world but is much more expensive than the capacitor can...There are other electrolytic caps that you should replace as well but they're not as potentially destructive! (Of course you should learn how to safely drain filter capacitors before you touch the insides of any tube amp - they can retain more than lethal voltages for several days after being turned off...)

Also a stock console Hammond has no fuse (!) - if it did it might save the power transformer when the filter caps fail - so you should definitely put one in while you have the amp out - it's a bit of a pain to get it out because the wires are soldered on - but you should only have to do it once in your lifetime (once every thirty years of the Hammond's lifetime!).

I wouldn't worry too much about changing valves (tubes) - most people who are new to valve equipment change valves far too often - I think it's a waste - buy spares certainly but don't change them unless it fixes a specific problem you're having - if you hear a sound that wasn't there before you can swap valves around until it fixes it but please don't change valves if everything sounds fine (a lot of people do this and it prevents some of the rest of us using these valves!).

Another common issue with every old Hammond is generally referred to as "metal migration" or "zinc whiskers". Believe it or not NASA has a fascinating site about this problem here - it seems it doesn't only affect Hammond organs but has caused mis-firing of Patriot missiles and the failure of a number of orbital sattellites! Check it out. The only thing you can do is take everything apart and clean it off - it's a pain and it will grow back but that's all you can do!

Another problem than will inevitably come up is dusty busbars - when you leave the lid up, little bits of dust will invariably drift down between the keys and onto the busbars - thankfully Laurens Hammond foresaw this and included an adjustment to compensate - the full procedure is described here but essentially it consists of moving the busbars to the left or right so that a clean surface presents itself to the key contacts - obviously this can only be done a couple of times before they're dirty everywhere - then you have to take them out and clean them - mine are due for that now but I haven't got around to it yet - I'll explain the process when I'm done!

Another common dust problem is that dust will fall vertically into the top of the percussion switches - which are a bit of a pain to take apart - it's fairly easy to reach the bottom contacts (which are usually clean anyway) - but often you don't have to dismantle the whole assembly - you can just drop some switch cleaner down the blade of a knife or something into the little gap between the plastic switch and the metal housing - I remove the felt first in case it damages it in some way but chemistry is not my strong point...

This talk of maintenance brings us to the prickly topic of "mods" - while I prefer the tone of the stock console Hammond (as well as the practicalities of always being able to get your tone on anyone else's Hammond) there are a couple of things you can do - one is that, when you select the percussion volume "Normal" (as opposed to "Soft") the volume of the entire upper manual drops - this is why almost all the classic organ trio artists constantly used the "Soft" setting (unless they used a bass player - where the balance between upper and lower manuals is more easily compensated for). There is an extremely simple and reversable mod which removes this volume drop but retains the increase in percussion volume - the Hammond-Leslie FAQ has the instructions - and I highly recommend this mod - you can get a great boost in percussion volume without upsetting your upper/lower volume balance - and it's a matter of just jumpering one resistor - to return to stock you just remove the jumper...

If you plan on moving your console Hammond often I would highly recommend installing a generator shock- mount kit - usually the tone generator hangs from four springs in order to reduce the mechanical noise from the cabinet. If you ever move a console it is absolutaly vital that you lock down the tone generator. This is done by removing the four bolts with large brown washers underneath the manuals - when you remove these you'll see that the brown "washers" are actually T-Nuts which, when reversed, lock the tone generator to the shelf so it doesn't swing around, straining the wires and chewing up the holes in the cabinet.

To be slightly more clear - you undo the four bolts (which are the only things sticking out from the bottom of the organ, and if you jiggle them you'll see that they're attatched to the spring suspended base of your tone generator). When these bolts are undone you'll find a T-nut with a very long shaft comes out as well - all you do is turn this T-nut around and put the bolt back in where it came from - now the top of the "T" is pressing against the bottom of the organ instead of floating free from it - just do them up tight enough to hold the tone generator still and you're ready to do yourself some back injuries!

If you play the organ with the generator locked down you'll find an excessive ammount of motor noise - and indeed physical vibration - through the whole cabinet - this isn't harmful to the organ but it sure is distracting. So the isolation kits you can get from the suppliers below replace the spring suspension system with a rubber grommet arrangement which is really very effective - it holds the generator securely but dampens most of the vibrations (it's slightly louder than the springs but - unless you're in a permanent studio or church it's a lot easier).

Another simple, effective mod is that of adding a line out - I used this circuit AO-28 Line Out and it works great. Note that adding a line out to a Spinet is a little more complicated because you can't disconnect the speakers from a tube amp without replacing them with a suitable resistor - this is what the "Load Resistor" control is for on a Leslie 147 amp - you select the impedance of the speakers in your Spinet and the Leslie will connect them to the right resistor - failing to do so can destroy your Spinet amp...

Although the line out is not a fantastic tone by itself (without the Leslie effect) - it can be useful for attaching another type of Leslie via a preamp pedal or for deriving a sub signal for those "mo-bass" sounds - or for re-amping which I've done succesfully - you can run the Leslie at a lower level to avoid spill in the drum mikes etc. but record a DI'd Hammond track to tape - then you can run the DI'd track back out to the Leslie later on and re-record it a bit more cranked (or with added effects or whatever).

Some people have asked me for drawbar settings and I'm a little bit embarrassed because I don't have any really original settings to share but this is how I set up my Hammond at the start of a gig...

The most important factor in choosing your drawbar settings is how quickly you can switch between your commonly used sounds - for example is it quicker to push some drawbars in our out or to switch presets - it very much depends on the two settings being played and even where you are on the keyboard - also wether you need to change Leslie speeds or your chorus or percussion settings at the same time (which is usually the case!).

So for example, as the percussion only works on the B preset, changing from the B preset will also turn off the percussion, thus saving you the reach over to the percussion switches - it's also useful to make use of the fact that the percussion on/off switch also turns the ninth drawbar on and off - so you can leave it out most of the time and get an instant change of tone just with the percussion switch...

So you have to think about which settings you use most often and what it the quickest way to change between them - sounds that don't require percussion can be programmed into your preset panel because the built in sounds are not that useful for most types of music...and you can always put them back because they're printed in the service manual...

Anyway for the top manual on the B preset I start with 888000000 - I use this for single line solos in the style of Jimmy Smith, Jack McDuff etc. with the Leslie on slow with C3 chorus and all percussion tabs forward (on, soft, fast, third) - note I have performed the volume drop mod above so that I often use the percussion on "normal" as well as "soft".

888000000 is the classic Jimmy Smith sound, with or without percussion but adding the fourfth drawbar adds a different colour to it as well - another useful option is to have the ninth drawbar out - because of the aforementioned percussion switch thing - also 888800008 is a cool sound.

For the A# or Bb preset I used to use 800008888 with a fast Leslie - this is Jimmy Smith's "Mack The Knife" setting (from "Crazy Baby" - a fantastic album) - this setting is usually referred to as the "Errol Garner" setting. But I found out that Jimmy Smith used this setting with percussion (which sounds much better) which, technically makes this 800008880...but if you've used 800008888 before, try it with percussion! Of course the necessity for percussion means I now have to use the B preset, making it more of a task to switch from 888000000 mode...but there's no such thing as a free lunch apparently... So now I mostly pull out all the stops on the Bb preset because it's easy to hit that note on the way down to the Leslie switch which you'll mostly want to use with all the drawbars out (a fast Leslie I mean).

800000008 is another interesting sound and also works great with percussion on, soft, fast (or slow) and third - (this is obviously the same as 800000000) this gives a great vibraphone type of sound - especially if you pump the expression pedal for that vibey tremolo type of sound...

Another favourite (on the upper B preset) is to have ALL the drawbars pushed all the way in and the percussion set to "on, normal, slow, second". This was a favourite setting of Jack McDuff's - particualarly in slow blues and ballads - with this setting the percussion is the only sound you'll hear so the upper manual becomes single triggered but has a lovely, chimey, pure tone. Note you have to use the second harmonic because, although it's often a ittle quieter than the third harmonic - it allows you to play in the same key as your bass hand (or foot!) - if you used the third harmonic your right hand would have to play in G while your left was in C - which is certainly possible but is surely inviting disaster - especially afer a few ales or gin and tonics or whatever...

Also when using the "percussion only" effect you can add a little bit of the 4th drawbar when the percussion is on "2nd". This gives the impression that the percussion never dies out - used carefully it can add a little more sustain to the percussion without lessening the monophonic vibe of the "percussion only" setting.

This is also a useful effect when using the 3rd percussion setting, where you can add a little bit of the 5th drawbar (instead of the 4th) - 0000X0000 - this can give a sound that's close to (but not exactly like) a sound Jimmy Smith gave on several notable albums during the late 1950's.

To exactly replicate this fantastic sound, one has to replicate a fault that was present in one of Jimmy Smith's regularly used organs of the period - or perform the same trick he may have done...

On some console organs it's possible to balance the percussion on/off switch in between its normal settings (with mine it's quite simple because the spring in the switch is broken!) which causes the percussion tone to sustain indefinitely. The difference between this and the above 0000X0000 setting is that the percussion tone (equivalent to the 5th drawbar in this case) doesn't pass through the chorus/vibrato circuit - this is the only senario which allows you to have eight drawbars with chorus or vibrato and one without - and it's quite a distinctive and very cool sound!

Jimmy Smith's "Groovin' At Small's Paradise" album features this effect throughout - as does "The Sermon" - in fact some evidence for the suggestion that this was a "fault" rather than a "trick" is that this percussion effect is used extensively on "J.O.S" but not at all on "The Sermon" - but those two songs are almost perfect masterpieces so who is anyone to suggest how or why they came about?!

If your organ doesn't produce this effect by fiddling with the percussion on/off switch you can wire in a switch which disconects the blue wire from the "K" terminal on the preamp - I love this sound and I encourage anyone who hasn't tried it to at least unsolder this wire for an hour or two and see what you think! (I wouldn't make this a permanent change though because you lose all the wonderful single-triggered effects - it's more of an insistant, almost manic sound that works great on some songs...)

I've since added a switch for this effect on my Trek II switch panel...

On the lower manual I usually set up 808000000 or 838000000 on A# and 0064000000 on B. Adding the second drawbar gives you more "growl" and aids in the tone of your comping chords but it also tends to raise the percieved pitch of your bass-lines - also it lessens the effect of the harmonic foldback - obviously all these things are good and bad depending on the song - I've been using 808000000 more frequently than I used to because it sounds lower than 838etc. and it emphasises the harmonic foldback. Also it's very easy to control the relative depth of this pitch by pushing the lowest drawbar in one or two stops...

For ballads where you're playing bass mostly or wholly with your feet it's often useful to use a lower manual setting that enables you to play chords on the lower end of the lower manual without being too low! Pushing the bottom two drawbars in will move you up two octaves - so something like 00640000 (adding higher drawbars to taste) produces chords high enough to avoid muddiness or boominess...

I'll put some more up soon - but, contrary to myth and legend, these are the basic setting from which all jazz, blues, soul and funk organ is based. There's a common problem musicians have when they first take to the Hammond to think of the drawbars as a kind of graphic equalizer - and while they are arranged from lowest to highest - one has to remember that the harmonic content of the notes changes with the drawbar settings as wel as the frequency content - so more fifths will create a more strident, brassy sound and more thirds and octaves will give a sweeter, flute-like - but not as loud-sounding tone etc.

More to come soon...