7
Table Of Contents
- Logic Pro 7
- Plug-In Reference
- Contents
- Introducing Logic’s Plug-ins
- Basics
- Instruments and Effects
- Equalizer
- Dynamic
- Distortion
- Filter
- Delay
- Modulation
- Reverb
- Convolution Reverb: SpaceDesigner
- Special
- Helper
- Vocoder—Basics
- The EVOC20PS
- Vocoder History
- Synthesizer Basics
- EFM 1
- ES M
- ES P
- ES E
- ES1
- ES2
- Concept and Function
- The ES2 Parameters
- Tutorials
- Sound Workshop: Logic ES2
- Tutorial Setting: Analog Saw Init
- Tutorial Setting: Analog Saw 3Osc
- Tutorial Setting: Analog Unison
- Tutorial Setting: Analog Bass clean
- Tutorial Setting: Analog Bass distorted
- Tutorial Setting: FM Start
- Tutorial Setting: FM Envelope
- Tutorial Setting: FM Drive
- Tutorial Setting: FM DigiWave
- Tutorial Setting: FM Wavetable
- Tutorial Setting: FM Megafat
- Tutorial Setting: FM Out of Tune and FM Tuned
- Tutorial Settings: PWM Start, PWM Slow, PWM Fast, and PWMScaled
- Tutorial Settings: PWM 2 Osc and PWM Soft Strings
- Tutorial Setting: Ringmod Start
- Tutorial Setting: Sync Start
- Tutorial Setting: Vector Start and Vector Envelope
- Tutorial Settings: Vector Envelope and Vector XY
- Tutorial Settings: Vector Loop
- Tutorial Setting: Vector Kick
- Tutorial Settings: Vector Perc Synth and Vector Punch Bass
- Templates for Logic’s ES2
- Sound Workshop: Logic ES2
- Ultrabeat
- Sculpture
- The Synthesis Core of Sculpture
- Sculpture’s Parameters
- Global Parameters
- String and Object Parameters
- Processing
- Post Processing
- Modulation Generators
- The Control Envelopes
- Morph
- MIDI Controller Assignments
- Programming: Quick Start Guide
- Programming: In Depth
- KlopfGeist
- EVB3
- EVD6
- The EVD6—Concept and Functions
- Parameters of the EVD6
- Controlling the EVD6 via MIDI
- A Brief History of the Clavinet
- EVP88
- EXS24 mkII
- Using Instruments
- File Organization
- Sample File Import
- EXS24 Key Commands
- A Brief History of Sampling
- MIDI Controller List
- GarageBand Instruments
- External Instrument
- Glossary
- Index
Chapter 26 EVB3 483
Hammond also holds the patent for the electro-mechanical spring reverb, still found in
countless guitar amplifiers today!
The Hammond B3 was manufactured between 1955 and 1974. It is the Hammond
model preferred by jazz and rock organ players such as: Fats Waller, Wild Bill Davis,
Brother Jack McDuff, Jimmy Smith, Keith Emerson, Jon Lord, Brian Auger, Steve
Winwood, Joey DeFrancesco, and Barbara Dennerlein. In addition to the B3, there are a
number of smaller Hammond instruments, known as the “spinet” series (M3, M100,
L100, T100). Bigger console models, many of which were designed to suit the needs of
American (USA) churches or theatres (H100, X66, X77, E100, R100, G-100), were also
manufactured.
The production of electro-mechanical organs ceased in 1974. Thereafter, Hammond
built fully electronic organs. Today, people at Hammond-Suzuki are more conscious of
their glorious tradition and produce fine electronic drawbar organs. In 2002, they even
introduced a new digital B3 model which mimics the design and functions of the
classic B3 (except for the weight). The new B3 utilizes a real, mechanical, rotor speaker
cabinet.
Tonewheel Sound Generation
Tonewheel sound generation resembles that of a siren. Of course, there’s no air being
blown through the holes of a revolving wheel. Rather, an electro-magnetic pickup,
much like a guitar pickup is used.
A notched metal wheel, called a tone wheel, revolves at the end of a magnetized rod.
The “teeth” of the wheel cause variations in the magnetic field, inducing an electrical
voltage. This voltage/tone is then filtered, sent through the manuals, amplified, has
vibrato and expression applied to it, and is then amplified.
A long drive shaft is driven by an AC synchronous motor. 24 driving gears are attached
to the shaft, with 12 different gear sizes. These gears drive the tone wheels. The
frequency depends on the gear ratios, and the number of notches in the wheels. The
Hammond is tuned to an almost exact well-tempered scale.
As with pipe organs that feature “multiplexed registers”, the Hammond organ uses
certain generators for more than one purpose. Some high frequency wheels serve as
the fundamental for high notes, and provide harmonics for lower notes. This has a
positive impact on the overall organ sound, avoids detuning and stabilizes levels.