My favourite Electronic Organ is the American invented and manufactured Hammond Organ.
Synthesizers of today, attempt to reproduce or emulate the unique, rich, full sound quality of the original mighty Hammond organ, powered by a Leslie rotating speaker cabinet. While some do a better job than others, a true enthusiast with a good ear can tell the difference between emulation and the original thing.
Even with today's advanced technology at a muso's disposal, one may still find a Hammond organ and Leslie speaker cabinet in dedicated music studios, Churches and bands.
Shared here is a brief explanation of the Hammond organ and Leslie speaker cabinet, including my current CD album, Music For-Life.
I decided to not get into great detail regarding history of the Hammond organ, for there are many dedicated web sites with this information. In general. I'm more interested in the practical side of the instrument. This is where most of my time and energy has been spent with these wonderful creations. There are many models and series of the Hammond Organ. Although, here, I mostly refer to the two models that I have owned and am familiar with. In my time, I've owned two spinet models; the spinet Hammond model L-222, and currently an M-101. I also own a self-built Leslie speaker cabinet.
This particular Leslie is amplified with a Bi-amplifier [dual solid state amplifiers]. One amp powers the woofer [bass speaker], and a separate amp powers the tweeter [driver]. The output signal from the Hammond organ is crossed over at 800 Hz by an electronic crossover, prior to amplification. A 200 watt mos fet amp amplifies frequencies 800 Hz and above, to power the driver. Frequencies from 800 Hz down are amplified with a separate 300 watt solid state amp. The crossover, amps, top motors including the Leslie cabinet were built and put together by yours truly.
The bottom end of the Leslie is part of a "Leslie-18", but a heavily customized Leslie-18 at that. The original Leslie-18 contained a 12" Jensen woofer with a matching styrene rotating drum assembly. I re-fashioned the original styrene drum assembly with fibreglass to suit a 15" RCF bass speaker or woofer, which was quite a task to achieve, to say the least. The greatest challenge was to physically "balance" the fibreglass-styrene mixed-media drum assembly, to prevent vibration when the assembly is spinning around at tremolo [fast speed].
Feel free to Download and listen to 6 tracks from my current CD--
[links to tracks far down this web page]
The Tone Wheel Generator
The unique sound of the console and spinet Hammond organ is the outcome of a combination of both electronic and mechanical systems. The popular Hammond models incorporate electronic valves or vacuum-tubes as part of the electronic circuitry, which produces a rich, warm sound. By spinning an assembly of numerous round metal cogs [tone wheels], in a tone wheel assembly, by which each cog has a waveform pattern fashioned around the edge of each tone wheel, and with an electromagnet coil pick-up fixed close to the edge of each spinning tone wheel, is how an electronic signal or tone is generated. The weak electronic signal is fed through a valve [tube] amplifier, which drives an audio speaker to create an audible musical note or tone, when a key is depressed on the Organ's keyboard.
If you can imagine this... a round cog with many teeth rendered along the outer edge. If we place the end of a toothpick for here say, along the edge of the cog while the cog spins, a note is produced--- correct?! The more teeth are rendered on the edge of the cog, or the faster the cog rotates, the higher the pitch of tone created--- correct?! Yes indeed in fact.
This is basically how the Hammond organ produces the rich, unique, individual tones and their harmonics. Whereas with the Hammond organ, an electronic pickup replaces the toothpick in the above representation, and the tone wheel represents the toothed-cog. The tone wheel assembly in the Hammond organ is comprised of numerous individual tone wheels, which is roughly the number of drawbars multiplied by the number of keys of the upper keyboard manual, in addition to the number of bass peddles by its drawbar number.
An ex-watch maker in the USA Laurens Hammond was the inventor of the Hammond organ in April 1935. One can understand how toothed cogs go hand-in-hand with the Hammond organ, by simply dismantling an old clock to investigate the many toothed cogs that exist inside the clock, and compare this with the tone wheel assembly unit of the console/spinet Hammond organ. Similar to a good Swiss watch not losing time, as the saying goes, so too a Hammond organ can not lose tuning, as long as the cogs are spinning at the correct speed, by the electronic circuitry providing the correct electric current to the motor driving the tone wheel assembly.
The tone wheel generator can be exploited, as has been the case by many a Hammond organist in rock bands in earlier days, including yours truly, to create interesting sounds, or tonal effects. If the tone wheels are exposed and accessible to the organist playing the organ, the tone wheels can be manipulated with the fingers to slow down the rotation of individual tone wheels, or a few tone wheels can be manipulated simultaneously. This creates a whaling-type sound, similar to an old fashion Police car or Fire truck siren. Jon Lord of the Deep Purple rock band often exploited this, especially at the end of the famous song, Highway Star. However, and thanks to better recall, in that section of the song, I believe that the power to the organ was switch off at the organ and then switched back on. This action due to power cutoff, the tone wheel assembly is slowed down and spin up when the power is switched back on, while the valve-driven amplifier is still warm so continues to amplify the deranged tone produced by the altered rotation of the tone wheel assembly. This produces an interesting winding-down and winding-up or wailing sound effect.
Rick Wakeman, the keyboard player of the Yes experimental rock band also enjoyed applying a similar sound effect. I am curious to know who in fact was the first Hammond organist to do this in a live venue, or in a studio setting. I learned of this effect by shear accident, or should I state by experimentation, and then later put two-and-two together after hearing it applied by Jon Lord on a Deep Purple vinyl album in my early teens.
The Drawbars or Tonal Controls
To control the type and colour of sound of the Hammond, we have what's referred to as Drawbars or harmonic tonal controls. The drawbars are similar to stops in a pipe organ. Drawbars provided the organist with a wide degree of control over the tone and colour of sound. Each drawbar is marked in feet and represent 1 pipe length among the pipe collection of a traditional pipe organ. These start at the left with a drawbar marked as 16' [Bass] and go all the way to the right represented as a 1' drawbar [Sifflote], with variations in between.
There are three coloured banks of drawbars, brown, black and white. These represent and control sub-octave, fundamental and their octave and harmonic tones. E.g. 16' drawbar is one octave below the 8' drawbar. Each drawbar is numbered along the top edge from 0 to 8. These numbers represent a volume adjustment number for that particular drawbar. In effect, drawbars are volume sliders. Depending on the model, there are from 9 drawbars for the upper manual and 8 for the lower manual and at least one drawbar for the bass pedals. The combination called registration, is a representation of how far the drawbar is pulled out, and which particular drawbars are drawn out. This is what gives the Hammond organ the type of timber or colour of sound. E.g., 88 8000 000 a favourite registration used by many popular organists, means that the 16', 5-1/3' and 8' draw bars are pulled all the way out [8 or full volume], and the rest are all off [0 or no volume]. The combination of these registrations can virtually count in the thousands.
Another effect that the hammond organ is famous for and which can add to the richness of the warm or harsh sound as required, is Harmonic Percussion. The spinet models have two Harmonic Percussion selections, 2 and 3. These are a reproduction of the second and third harmonic drawbars. The source of each Harmonic Percussion is wired directly to the drawbar-controlled tone wheels for each setting, 8'  and 2-2/3' . Both Harmonic Percussions are switched on with a tablet switch, which adds the harmonic to the attack envelope of a note when played.
In the spinet models, only one Harmonic Percussion can be switched on at any one time, and one will cancel the other when switching between the two. The attack tone fade-out can be set to fast or slow, loud or soft. When an harmonic percussion is switched on and notes are played on the keyboard, when a key is held down and another key is pressed while the first key is still held down, the second key will have the remanding percussion attack and decay to the envelope left over from the first key played the triggered the percussion. And if the percussion attack, sustain and decay has ended and another key is played, and all the while the first key and any following key has been held down, there is no more percussion left if any other key or the same key is played. Harmonic percussion is reset when the original key that excited the initial percussion or any other key played there after without a break in between, has been lifted. This alone provides the organist with a potential to create beautiful, rich brilliant interesting sounds and effects.
Key-Click and Sound Artifacts
Key click including electronic cross-talk or the bleeding of all the tones being generated by the tone wheel generator, bled into any played note or tone, especially evident with specific low end or bass registrations, is unique to Hammond Organs. This electronic noise is shunned and avoided in today's electronic circuits and amplifiers, however, these are what give the Hammond a subtle beauty unique to the Hammond sound.
The Hammond organ M-101 and L-222 including other Hammonds include switchable spring reverberation. The L-100 series has a completely different reverberation circuitry than the M-100 the latter has what is refereed to as stereo reverberation. This is because the M-100 series has separate valve circuitry just for reverberation, which drives a separate dedicated speaker of the organ, to produce a stereo-like sound between the reverb driver and the non-reverb or dry driver. The drawback to this is in the event of wring up an M-100 organ to a Leslie speaker system, special circuitry is required to bring the organ's reverb into the output of the organ non-reverb circuitry, so that they can be amplified by a single input of the Leslie speaker system. Where as the L- series reverb went to the output as one signal.
Jon lord and others including Rick Wakeman, were renown for rocking their Hammond organs on stage, and this was performed to intentionally create thunder-like sound effect, whereby the spring reverb units collide with the housing of the reverb chamber. I recall doing this by share accident when my L-222 was moved while it was switched on. It was both a frightening and exciting experience, when it first occurred.
Because of the mechanisms to produce the sound, the combination of the drawbars followed by valve or tube amplification which is then driven by a Leslie Speaker cabinet, is what gives the Hammond organ a distinct, unique, rich warm sound. This is unmatched by any transistor or microchip-designed organ or synth of today, for these can only mimic the sound quality of a true Hammond organ powdered by a Leslie speaker cabinet.
Hammond organ... can produce the sound of the roar of a Tiger or the percussive shimmer of Crystal glass.
A good example of the rich Hammond sound, is evident in a song Living Wreck by Deep Purple. In this song, Jon Lord the Hammond organist, creates a Hammond-sound resembling the roar of a wild cat. In the song Child In Time Jon creates sounds of mellow percussive overtures, building up to the shimmering of percussive glass crystal [You're too cool, Jon ]. The latter sound is a good example of the Harmonic Percussion of the Hammond organ.
In the 1960's, the organ intro and solo in the famous song A Whiter Shade of Pale [Hammond M-102 played by Matthew Fisher recorded by the band Procol Harum], was one among many tunes, which increased popularity of the Hammond organ [Fantabulous masterpiece of playing, Mathew!. And congratulations in your recent law suit to gain some recognition of writer of the organ piece in A Whiter Shade of Pale.]
Not forgetting other talented and innovative Hammond organ jazz musicians, including the jazz-bluesie artist Jimmy Smith, Joey DeFrancesco, John Medeski, Art Neville, Michael Omartian, Mike Finnegan, Ricky Peterson, Tommy Eyre, Larry Goldings, Reuben Wilson, Mick Weaver, Jack McDuff. This particular group of artists were chosen to celebrate the Hammond B3 on the music CD, Organ-Ized. The bluesie Jimmy McGriff, Dr. Lonnie Smith and last but by no means least, and to include a female among a male dominating scene, Ms Pitts, who as Joey DeFrancesco explains her tallent in his own words, "Ms Pitts is one bad organist....a deep groove, TRUE harmonic knowledge and wonderful creativity. Definetly deserving of wider recognition. I'd play with Ms Pitts anytime (3/2005)".No other electronic organ can generate such a sweet, yet gutsy sound, either to Praise the Divine Creator of Life's Name, or, to rock the socks off your dancing feet!
Hammond organ sound wonderful by itself, but when a Leslie speaker is wired up as the power amp, the sound is-- breathtaking to the breathing ear!
Leslie speaker cabinets share common ground with the mighty Hammond organ. They are both based around a mechanical and electronic system. A Leslie speaker is a large wooden cabinet, with cut-out louvers situated at the top and bottom 3 sides of the cabinet. The sound escapes out from the louvers. A Leslie cabinet contains both a fixed tweeter [driver] situated in the top area of the cabinet, and a woofer [bass speaker] fixed facing down at the bottom end. The driver has a matching dual flared rotateable horn fixed to it [one horn is closed for balancing the weight and the other horn has an open port or active horn for the sound to escape].
The woofer is fixed facing down into a large rotateable drum assembly. In early models, the drum was rendered from wood, while it's common to find a molded styrene drum assembly in some later models. The drum assembly is shaped in such a way, that the sound coming down from the fixed woofer radiates down and out one side of the drum. The sound waves are guided outwardly by a flared or curved floor rendered as part of the drum assembly.
Both the upper-horn and lower drum assemblies have two speed settings for spin; slow [Chorale] and fast [Tremolo], including a break selection or off [no spin]. These assemblies spin in an opposite direction, and separately driven by two dual electric motors, pulley and belt systems. The 2- speed settings are controlled by the organist via a switch [either fitted to the organ or as a foot switch]. The slow speed [chorale] is produced by both assemblies spinning at about 1.5 Hertz, or 1.5 revolutions a second. While fast speed [tremolo], is set at 7 to 8 Hertz.
I guess one could say that a Leslie speaker cabinet is both an amplified mechanically-driven phaser cross-chorus, or screaming vibrato effects unit in one... Phew!
The effect of a Leslie speaker is created mostly by the Doppler effect. An example of this effect is when a car blowing its horn is heading toward you, the pitch of the horn is high, due to compression of the sound waves. As the car passes by, the pitch is lower. The Leslie's rotating upper-horn and lower-drum assemblies, cause a similar effect to the sound of the instrument being amplified, but within a wooden cabinet. As both assemblies rotate toward you, the sound waves are compressed, raising the pitch. As the assemblies rotate away from the ear, the sound waves are expanded-- lowering the pitch.
Also, the shape of the inner cabinet itself, adds a degree of variation or dimension to the Doppler effect. As the sound waves hit the inner walls and corners of the cabinet, phase variations of the sound are created, which blend with the Doppler effect. On top of this, the sound is physically thrown all around the space that you and the Leslie occupy. All these factors together, create an amazing, rich euphoric effect, which only a Leslie speaker cabinet can produce.
Another side effect [pardon the pun], is the actual time-difference it takes to spin up from slow speed and then down from fast speed between the upper horn and lower drum assemblies. The bottom drum is heavier than the tweeter's horn assembly. This effects the low frequency spectrum 800 Hz down, because it takes longer to spin up, and then down than the upper horn assembly between fast and slow, or tremolo and choral respectively.
On the other hand, the high frequency spectrum from 800 Hz and above driven by the upper driver, spins rapidly when switching between the two slow and fast speeds. The variation in speed-change between the high and low frequency spectrum, creates a unique effect on its own. This phenomena is quite a challenge to synthesize or emulate electronically with a Leslie FX unit, or digitally, it is difficult to address accurately.
However, emulating the leslie effect is rather easy to achieve once one understands the basic principles. I've designed an electronic Leslie FX unit, which emulates a Leslie quite well, but that's another story, which I won't get into any great detail here.
A number of independent software emulators now do a reasonable job at reproducing both the Hammond Organ, and the Leslie speaker effect. I'd be happy to mention them here, that is if any company is interested in providing me with a free sample of their software package:)
M-101 my current Hammond
Playing the Hammond "L-222 Rhythm II" in my teens. Rhythm II means that an inbuilt electronic drum machine is included in this particular L-series model.
Playing the same Hammond L-222 at two stages of my life.
Far left, 16 years old, in my band practice-room playing in a band "Flintrock".
Right, aged 32 recording tracks at a recording studio in Bartel Street, Adelaide, South Australia with the "RADICS" reggae band.
|I was fortunate enough to own my first Hammond model L-222 at the age of 11. My father purchased this first organ for me, which I enjoyed using right up into my mid-thirties, well, until my right hand was damaged in an accident. A doctor suggested that I probably would never be able to play keyboards again, and regretfully, I decided to sell both my L-222 Hammond and a slightly self-customized Leslie 910 speaker cabinet. Shortly after self prescribing and applying a Comfrey root poultice to my damaged hand, my hand finally ended up healing to perfection.
A few years later, a friend located a Hammond model M-101 for sale in a Church nearby. Of course, I was quick to snap it up... and she's one real beauty. Shortly after this, I built another Leslie speaker cabinet, so once again I am a proud owner of my Numero uno favourite organ... the mighty...
[Click on any picture for an enlarged view]
The original tag that came attached to the spring reverb unit.
Hammond Model M 100 Owners Playing Guide
The Porter Heaps in Pointers for the Home Organist.
Pamphlet with models and specs of each model [Side A ] [Side B]
6 music tracks below are from my current CD album Music For-Life presented here in high quality mp3.
There are 3 complete songs for your listening pleasure Let's say Kefir! Angels Reach and Sayonara Whalers. Download them to your iPod or mp3 player etc, for free. Otherwise listen to them on your computer, and ENJOY the beats!
Most tracks include sections incorporating Hammond organ with a Leslie speaker. Other organ sounds in certain tracks are generated with a Korg N5ex music synthesizer. Leslie speaker effect in some tracks were generated with software manipulation that I experimented with. The style of music varies between reggae-dub to modern-dance styles with a degree of ambience-fusion.
If you want to purchase the CD Music for-life which includes 11 tracks altogether, please send me an e-mail for details.
Note There are 2 methods to download each mp3 below. The top link for each file is downloaded from my server. The second method "Or Download with DNA now " is faster download. It is accelerated by a technology known as BitTorrent DNA and installs a very small program to download from p2p BitTorrent clients. When download of the file completes, locate the file and click the exe file to finish the download..
Track Description and Lyrics
01. Let's Say Kefir! I'm often asked how to pronounce the word Kefir which is a nutritious, health-promoting yogurt-like beverage the origin of which is the Caucasus Mountains. So, I decided to compose a song to include folks from around the world, how they say kefir, to demonstrate how kefir is pronounced in different countries. The music genre of this track is reggae-dub. It includes dubbed voices of some of my Friends made in Kefir from around the world, whom at some point were or still are subscribed to my kefir internet lists. These are William from Canada, Molly and Beverly from USA, Alexander also from USA but originally from Russia, Anja, one of my kefir list moderators from Germany and H. Ibrahim Tutuncuoglu from Turkey [H.I.T.] As Ibrahim's initials stand, are they not quite fitting for this hit song?!-- I think so [hence I feel so].
Those folks were kind enough to record their voices pronouncing Kefir on their personal computers, and then provided the recording as a wav file by email. Their voices were later dubbed in the mix by yours truly. BTW, dubbed means to insert or transfer one recording into another, creating an new, single mix. Thanks go to all of you kind folks. Thanks also go to my wife Sandra and to our daughter Shedea, whose voices are included in the mix along with my voice. Parents who have obtained the CD have found the kefir song of good value, for our daughter offers kefir to me and to Sandra [in that order] in the song, which has enticed other children to drink their kefir, for good nutrition and health. Reggae Kefir-cheers!
[Spoken Word Intro]
[Dom- yours truly] How do YOU pronounce the word, spelt K. E. F. I. R.
[William] I used to say
keh-kef-keh-feer, but now it's keh-fear
[Ibrahim] Say kefear.
Kefear, in Turkish
[Anja] Keh-fear, keh-fear
[Telephone dial tone dialling
K-E-K-I-R] [Telephone] Ring! ring!
[Synth lead] [Ibrahim] Thank you, for the web site. Keh-fear, in Turkey
[Ibrahim] We say kefear. Kefear, in Turkish
02. Symbiosis [u 4 i and i 4 u] Single cell organisms can do it, so why can't we?! Yes, single celled organisms inspired this song, and it mostly has to do with micro/macromically workable relationships, or the hope that it can and does exist among human-culture. This track is what I would classify as classical-reggae fusion.
[Spoken word] Symbiotic, relationship.
Within the macro,
abides the micro
Freedom, Freedom, Freedom to choose-ah! Freedom to choose
Freedom to choose-ha!
Freedom, Freedom, Freedom
04. Release [Free your mind] This song rejoices each evolving revolution of Earth's orbit around the sun. In other words it's a continuous rejoice! A celebration of any yearly event, such as birthdays, anniversaries, new year celebration etc. The original inspiration for this song was to express the freeing of a native parrot that I came across while driving. The Rainbow lorikeet, which I came to name Venus was injured by another vehicle driving ahead of our van. I rescued the beautiful bird and took her under my wings for 2 months, and treated her wounds by natural means. This sort of thing with animals has occurred throughout my life, occurring on a regular basis. This track is a fusion between funk, Latin and reggae dance style.
[Spoken word intro]
Release [Free your
[Free your mind]
[Free your mind]
05. Sayonara [whalers] As I was writing and producing this song, I thought to myself, Why in Heavens am I writing a song about saving the whales? I feel like a hippie of days gone by-- for whaling for profit has been banned since 1986 [Moratorium by the IWC]. Alas, some 6 months later [3-6 July 2000], I learned that the Japanese and Norwegians were contesting the ban on whaling for profit. The meeting was actually held right here in Adelaide, South Australia, just a stone-throw away from where I was living at the time. Aired on a local TV news program, an anti-whaling protestor was speaking against the Japanese proposition of lifting the ban on whaling for profit. This protestor stated something along these lines, We are protesting here for our children. We want our children to enjoy Great Whales. What legacy are we leaving them, if a lift on the ban on whaling for profit and begin once again murdering whales near to the point of extinction, or to extinction! In any case, there is huge profit making in whale watching, which can last for all time, over whaling for profit and to extinction, which is a great possibility, given the reputation of whaling of the past. Man has not changed enough to learn the lesson, since.
A Japanese representative for the pro-whaling campaign replied the argument with, Children do not matter! The natural argument here is, if there's no concern whatsoever for children in that culture, or at least by one representative of the Japanese pro-whaling culture, then what chance do whales have, if the current ban on whaling for profit is lifted?! Whales need even more protection now, more so than ever before! It become clear to me that writing this song was a calling, one that I had to see through.
This song can be a useful tool for campaigns such as Greenpeace in raising more awareness in saving the whale populations. And pease, do NOT forward the argument that the Japanese do not contest other cultures e.g., those who eat Cow meat so the Japanese can justify the unnecessary slaughter of whales for their meat. Those cultures FARM THEIR OWN COWS and not go STEELING THEM, as the Japanese have been doing under the guise of Scientific research. That's complete Bull Ox and we all know it! This is simply a loophole that the Japanese are exploiting, while the so called scientific spent whale carcass meat is sold in Japan for a huge profit! It
To those human-cultures who wish to kill whales for meat or for so called Scientific lies, go farm your own whales and in your own waters. Or else, Sayonara, whalers!
If you would like to sign a petition to stop whaling, please do your bit right now and go to the following web site- Whale's Revenge
Please pass this on to as many folks as possible. If you want to do something about the unnecessary slaughtering of our loving, gentile, majestic creatures of the great oceans, then here's your chance to reply to our Whales' cry for our HELP! Please don't think that I am stating the above on prejudice ground. I have a web page dedicated to a better portion of culture-foods of Japan, those that most of us can dig [est]. In my own words, I like to finish off with-- Mother Japan! Give us Miso, give us koji, sake, and a myriad of many other marvels. But whale meat? No thanks! It would be like me eating members of my own family, and I have come close enough to a living whale to know this, to feel this, and to acknowledge this on a physical plane, let alone at a deeper level, a spiritual one. So, how deep can you go?
This track is classical with a reggae backbone with Japanese influence.
[Spoken word] I just gotta toast this one
[I just gotta toast this one]
Whales, at starboard bow!
[I just gotta toast this one]
we got the power
[I just had to toast this one]
Note Toast in this sense means spoken word to Reggae or Reggae- Dub music. Toasting is the predecessor to rap, or rap came after toasting to reggae, so I believe.
06. What more [can I ask for?] Everything has its place, even this song. This is about not overdoing it. I wrote this particular song after I broke my hand, from overworking, and not keeping focus, for I was over tiered and did not take a break to recharge.
[What more do I need, baby]
[What more do I need, baby]
[Walk over with me, baby]
[What more do I need, baby]
You know that!
Your love is in my heart
08. Angels Reach This is an instrumental dedicated to my two late Angels. I feel the presence of my late Daughter and Son, Angelica and Gabriel, and this song portrays this.
09. Compassion A song about self-medication and the mind-set set around this reality.
[You lovin me]
In a world, with
In a world, with little
Solutions, in vitro,
to problems, in vivo
In a world, with
10. Big Front [Big Back] Say sorry, politrician!.. for the crimes done against the Indigenous Australian Aboriginal people. This view point tries to reason why our now late Prime minister [John Howard] failed to give a formal apology on behave of his former political peers, to the Australian Aboriginal people for the stolen generations. Reconciliation is futile unless there is a formal public apology made by a Prime Minister, to the Australian Aboriginal people.
song is finally outdated! Most musicians would not like their music
to be outdated, but I celebrate it in this particular case! I am happy
to announce here, that our newly elected and current Prime Minister [Kevin
Rudd] on behalf of his past and present political peers, made a formal
apology by publicly saying SORRY to the Indigenous Australian Aboriginal
people, for the Stolen Generation. See Prime Minister Kevin Rudd's statement
at parliament house in Canberra saying sorry to the Indigenous people
of Australia, on You Tube---
[Spoken Word Intro]
The bigger the front,
[The J Girls]
You went to school
[The J Girls]
The bigger the front, the bigger the back my friend
[The J Girls]
[The J Girls + Dom singing in Rounds]
The bigger the front,
11. Livin Heart Good-bye song wishing to whom can feel, if not see or hear, Peace, Joy, Health and Prosperity.
No more mess, not missed
May you bathe in the fountain of Love
May you bathe in the fountain of Love
[Joy] May you bathe in
the fountain of Love
PEACE, without a full stop
Laurens Hammond and Don Leslie - The Story of the Leslie Speaker by Charles Richard Lester
Unearthing the mysteries of the Leslie Cabinet - A great article on Leslie cabinets by Clifford A. Henricksen. First published in Recording Engineer/Producer magazine, April 1981.
Hammond Organ and A Whiter Shade of Pale - Some neat links here at procolharum.com.
Who is this "Matthew Fisher"?.. anyway!? [I've never heard of the Dude... he must be cool, though ;^] OH congratulations are in order dude, for winning the case regarding the copyright of Whiter Shade of Pale! I hope you're satisfied with the copyright percentage that was judged in your favour by Mr Justice Blackburne!
www.organizedservices.com - Hammond organ service manuals.
Hammond and Leslie age determination list - Determine the age of your Hammond or Leslie cabinet.
Geoff's Hammond pages - Instructions for adding "fold back" to Hammond spinet models. Geoff's site is the only other Australian based Hammond Organ web page that I'm aware of.
Captain Foldback's Hammond and Leslie page - A great site with manuals and schematics.
Joey DeFrancesco's home page - One of my favourite Jazz organ artists. A true inspiration with the most accurate delicate touch and feel for the Hammond. Joey puts meaning into the harmonics of the Hammond sound.
About This Site & I
Last Updated June 15, 2012
Created, published, maintained and Copyrighted © by Dominic N Anfiteatro [dna] 1999-2012. All rights reserved. Do not link any material whatsoever, including images from this site, without permission granted by the copyright holder. Stating my copyright is important, and I shall not hesitate to enforce it to the fullest extent permitted by Law. Folks need to understand that one cannot freely make copies of my hard work and claim it as their own, or not giive reference or credit to the original creator and or source. Instead, feel free to feel privileged and fortunate that I share my intellectual property here for free, to empower you the reader, with good knowledge and for your enjoyment. I am only an e-mail away to be asked permission to use any of my work in any shape or form whatsoever, other than for private personal use. Now that's an offer one can not refuse or ignore.