Last week,
I acquired a Hammond Model F-100 Extravoice organ, With Service manual/Schematics/Tuning Guide. The cabinet is in fair/good condition, 1 chip in veneer, and no back cover. Otherwise, This was a fairly well cared for item. It was owned by a professional organist and was alleged to be his favorite. Anyway, It was working at the pickup location, But during transit something must have rattled loose because no sound comes out. I have not bothered looking further for a reason why.
Basically, I was wondering if anyone knows of a good Hammond Organ forum. This is a very rare model for the most part, And I would rather find someone that would indeed want the item as an organ rather than doing my usual Parts Strip!
Trout
Edit, This item is in Illinois 20 minutes from Dekalbs NIU Campus.
I acquired a Hammond Model F-100 Extravoice organ, With Service manual/Schematics/Tuning Guide. The cabinet is in fair/good condition, 1 chip in veneer, and no back cover. Otherwise, This was a fairly well cared for item. It was owned by a professional organist and was alleged to be his favorite. Anyway, It was working at the pickup location, But during transit something must have rattled loose because no sound comes out. I have not bothered looking further for a reason why.
Basically, I was wondering if anyone knows of a good Hammond Organ forum. This is a very rare model for the most part, And I would rather find someone that would indeed want the item as an organ rather than doing my usual Parts Strip!
Trout
Edit, This item is in Illinois 20 minutes from Dekalbs NIU Campus.
Yep,, Tubes. Its PP El84's about 25 0r 30 12AU7's a few 12AX7s, 5U4 rect, Power supply is on its own seperate chassis.
Some weird kinda Chokes for tuning, Quote* Loosen screws, Tap with Hammer
It is not a large unit by any means.
Some weird kinda Chokes for tuning, Quote* Loosen screws, Tap with Hammer
It is not a large unit by any means.
An externally hosted image should be here but it was not working when we last tested it.
OK,,, I'll leave this post a week or 2 , If somebody finds it and is interested, Great, Otherwise All them Yummy holland and Brit tubes Be Mine!! lol
A100?? Oh My,, You should not see the one in my garage that
used to work the day i picked it up
BTW, I am cleaning out a bunch of Stuff (junk in my way) because I/we have gathered to much STUFF. I may have extra a100 hardware stuff here. I'll get back to you.
For sure some of this stuff is good.
Trout
A100?? Oh My,, You should not see the one in my garage that
used to work the day i picked it up
BTW, I am cleaning out a bunch of Stuff (junk in my way) because I/we have gathered to much STUFF. I may have extra a100 hardware stuff here. I'll get back to you.
For sure some of this stuff is good.
Trout
I Just couldnt trash another Hammond organ without asking around. Had I known the A100 I found at an auction for 8 bucks was worth anything, No way I would have Killed it.
Thats Kinda why I posted about the Extravoice. I know Hammond used them on 90% of the Demo records even for other models LOL
Heck,, Gime a korg digital I am happy lol
This F100 is cute, Small and simple. But There are a lot of Nice Parts
Thats Kinda why I posted about the Extravoice. I know Hammond used them on 90% of the Demo records even for other models LOL
Heck,, Gime a korg digital I am happy lol
This F100 is cute, Small and simple. But There are a lot of Nice Parts
Hammond F-100
Hi,
I started servicing Hammonds in about 1963, and I've only ever seen one F-100.
It was an early attempt to make a cheaper instrument and it failed miserably because they just wouldn't stay in tune.
It has none of the 'classic' Hammond sounds, and the Lowrey and Wurlitzer valve ( tube ) models sounded so much better ( and had two keyboards ). Everyone changed over to semiconductors in about 1965, which brought the prices down by about 30%, so the F-100 and similar stuff like the Solovox was dead in the water.
So many manufacturers ( Conn, Gulbransen, Baldwin, Thomas, etc ) climbed onto the bandwagon with the new technology, that by 1970 all Hammond's new models used transistors in place of the tubes in an attempt to stay competitive. I have to say that used properly, they didn't sound any worse for the change, especially through a Leslie, and they were a lot more reliable than the larger more expensive stuff.
Things didn't begin to go wrong till Hammond abandoned the tone-wheels. I regret selling my C3 in 1970 after 5 years on the road with my first 2 bands, but playing was only a hobby - mending them was my living...
I'd love to find a model H-100 to restore - it has an extended version of the C3/A100 tone-wheels to drive four extra pitches on the keyboards giving higher harmonics than the earlier stuff - it has 11 drawbars per set instead of 9...
Graham
Hi,
I started servicing Hammonds in about 1963, and I've only ever seen one F-100.
It was an early attempt to make a cheaper instrument and it failed miserably because they just wouldn't stay in tune.
It has none of the 'classic' Hammond sounds, and the Lowrey and Wurlitzer valve ( tube ) models sounded so much better ( and had two keyboards ). Everyone changed over to semiconductors in about 1965, which brought the prices down by about 30%, so the F-100 and similar stuff like the Solovox was dead in the water.
So many manufacturers ( Conn, Gulbransen, Baldwin, Thomas, etc ) climbed onto the bandwagon with the new technology, that by 1970 all Hammond's new models used transistors in place of the tubes in an attempt to stay competitive. I have to say that used properly, they didn't sound any worse for the change, especially through a Leslie, and they were a lot more reliable than the larger more expensive stuff.
Things didn't begin to go wrong till Hammond abandoned the tone-wheels. I regret selling my C3 in 1970 after 5 years on the road with my first 2 bands, but playing was only a hobby - mending them was my living...
I'd love to find a model H-100 to restore - it has an extended version of the C3/A100 tone-wheels to drive four extra pitches on the keyboards giving higher harmonics than the earlier stuff - it has 11 drawbars per set instead of 9...
Graham
Old Hammonds, etc
Hammond introduced the extra generator span on the X-66 model ( like Microsoft's version numbers - it was launched in 1967... )
They found that the machinery they used to cut the wheels could make 50% more teeth, so they added an extra set of wheels which were logically a fifth different in tuning ( no time to explain properly here ) but higher in pitch. The keyboard has four extra busbars, and two extra drawbars carried harmonic mixtures of 2/3' + 2/5' + 1/3' & 1/2', but even with the extra generators these higher harmonics folded back way before the top of the keyboards.
One of the extra busbars was used for voltage keying which controlled a Harp-sustain voice - built from a mixture of the harmonics and gated with diodes.
The X-66 was a showpiece instrument on chrome tube legs and was the first Hammond to be shipped from the factory with a Leslie as standard - all the others were 'unauthorised' additions.
They followed on with a cut-down version - the X-77 to reduce the price, and made the H range ( internally identical ) to sell to the home market.
One other big change was that the reverb was now included in the console using a small horizontal spring-line, so it went out in the main signal to the amplifier. The B3/C3 models were normally shipped with a PR40 tone cabinet which had a large reverb unit internally which could only be turned on or off with a screwdriver adjustment through the back... Connecting a Leslie direct to the console of a B or C loses the reverb. The big reverb units had a different quality of sound - they had three springs instead of two for a start, but they were twice as long and hung in loops below the chassis.
The final big change was the use of overhanging keys instead of the rounded type on the B's and C's - this was necessary to get the extra contacts underneath, but it put off a lot of players.
Hope this makes sense - have fun
Graham
Hammond introduced the extra generator span on the X-66 model ( like Microsoft's version numbers - it was launched in 1967... )
They found that the machinery they used to cut the wheels could make 50% more teeth, so they added an extra set of wheels which were logically a fifth different in tuning ( no time to explain properly here ) but higher in pitch. The keyboard has four extra busbars, and two extra drawbars carried harmonic mixtures of 2/3' + 2/5' + 1/3' & 1/2', but even with the extra generators these higher harmonics folded back way before the top of the keyboards.
One of the extra busbars was used for voltage keying which controlled a Harp-sustain voice - built from a mixture of the harmonics and gated with diodes.
The X-66 was a showpiece instrument on chrome tube legs and was the first Hammond to be shipped from the factory with a Leslie as standard - all the others were 'unauthorised' additions.
They followed on with a cut-down version - the X-77 to reduce the price, and made the H range ( internally identical ) to sell to the home market.
One other big change was that the reverb was now included in the console using a small horizontal spring-line, so it went out in the main signal to the amplifier. The B3/C3 models were normally shipped with a PR40 tone cabinet which had a large reverb unit internally which could only be turned on or off with a screwdriver adjustment through the back... Connecting a Leslie direct to the console of a B or C loses the reverb. The big reverb units had a different quality of sound - they had three springs instead of two for a start, but they were twice as long and hung in loops below the chassis.
The final big change was the use of overhanging keys instead of the rounded type on the B's and C's - this was necessary to get the extra contacts underneath, but it put off a lot of players.
Hope this makes sense - have fun
Graham
Re: Old Hammonds, etc
That brings back some memories! - although I seem to remember that the screwdriver adjustment for the 'necklace' reverb was to lock the springs for transport, rather than turning the reverb on and off -- but I may be wrong, it's a while back!
And the constant requests to get the reverb fed into the rotating Leslie channels, rather than the non-revolving standard reverb option offered with the Leslie122R - or was that 122RV? Easy for the L100, more difficult for the A100 and M100, major re-think for the B3 and C3.
And the arguments as to whether the 145 sounded 'better' than the larger 147, and----------- happy days!!!!
That brings back some memories! - although I seem to remember that the screwdriver adjustment for the 'necklace' reverb was to lock the springs for transport, rather than turning the reverb on and off -- but I may be wrong, it's a while back!
And the constant requests to get the reverb fed into the rotating Leslie channels, rather than the non-revolving standard reverb option offered with the Leslie122R - or was that 122RV? Easy for the L100, more difficult for the A100 and M100, major re-think for the B3 and C3.
And the arguments as to whether the 145 sounded 'better' than the larger 147, and----------- happy days!!!!
- Status
- This old topic is closed. If you want to reopen this topic, contact a moderator using the "Report Post" button.