Professional Documents
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Manual Organo Hammond. Varios Modelos.
Manual Organo Hammond. Varios Modelos.
SAFETY NOTICE
in the destgn and manufaclure of thiB product to assure that no
eirfsls on any exposed metal pan*. Internal service operations can expose the
technFcLan to hazardous line vollages and accldanfally caiise these voltages to appear on
exposed metal parts during repa<r or raassambly of product components. To prevent this, work
on these products should only be periormed by those who are Ihoroughly familiar with the
precaullona necessary when working on this type of equipment.
shock hazard
To prolMl
ihe ui#r,
li
FHfutrvd that
all
Wug th6 AC line cord directly Into a line voltage AC receptacle (do not use an Isolation
transformer for this lest) and turn the product on. Connect the network (as shown below) In
series with aM e^Kposed metat parts and a known earth ground such as a water pipe or conduit,
Uaa an AC VOM of 5,000 ohms per volt or higher senaillvity to measure the voltage drop across
the network. Move the network connection to each exposed metal part (metal chassis, screw
heads, knobs and control shafla, esculcheor^. etc.) and measure the voltage drop across the
network. Reverse the line plug and repeal the measurements. Any reading of i volts RMS or
more Ja excessive and Indicates a potential shock hazard which must be corrected before
returning the product to the user.
von
kZ
SCUE
10K
MF
.01
CER*niC RF
BYPASS CAP
TEST
CUPS
TEST
PROBE
CONNECTED TO WOIH
URIH GROUND
TO tIPOSED
lETU
PUflTS
TABLE OF COimilTS
SECTION
^'^^^
CABINHS
2-15
2-16
2)
2-16
SidePenellFigure3&41
PAGE
ORGANS
MANUALS
ft
PEDALS
AB
A,
Mpdfli*
Modal BA
&
(Roll Pliytf
G. C-2, 2G,
G-40,
Madef
Modali
& B3
1-1
Models A. AV.
O&DV
CV,
1-3
2-1
2-17
2-17
(Figure 3)
2-18
2-13
A-lOa D-lOO
C'3. RT'3,
1-4
RT-3
MA
ModelE
2-lfl
Manual Ajring
Models
1-5
Model A-20
A40
BCV.
DV.
Modall
G,
CV. D,
C.
2-ig
RT
GV,
1-5
2-19
A-lOaO-100
Model B-40
1-8
Model
Modal C-ZO
1-6
Key
Model C-40
1-7
20
1-7
Modal
RT
Manual Contacts
MDdelsB-3,
TONE CAfilNHS
Modal
DV, G. GV.
MndBl
C.
Manual Chassis
(Concart Modall
&
BA, BC,
1-2
1-3
RT, RT-Z,
B,
1-2
Organ)
C-3G Consolei
2-17
Manual Chassis
Modeli
1)
1-1
Modvis
ft
2-19
Senas
2-19
2-20
2-21
1-8
tfi-20
2-22
thru
& D-lOO
2-22A
1-8
1-9
Pedal Circuits
2-22B
Model JR'20
1-9
Pedal Keyboard
2-22D
Model F-40
Modal PH-ZD
1-10
Ml
M3
THEORY OF OPERATION
DaacripTion
1-13
PreiBl Keys
1-14
(Model
1-16
1-16
Tremulant
1-17
Percussion
1-17
Tone Generator
1-18
Tofie Cabinati
1-lB
Rotor Tremulant
1-18
119
Power Amplifier
II
INSTALLATION. MAINTENANCE
ANO TECHNICAL
DV. G. GV,
2-24
RT
2-25
2-25
2-25
2-1
ACOUSTICS
General InilailBlJon
2-1
Reverberation
2-2
TREMULANT
2-27
C. D, ft
2-27
RHEOSTAT BOX
2 27
2-2B
thru 8)
2-31
thru
[Figure 2
&
2-32
2-33
3)
2-34
Scanner (Ftgure 5)
2-34
2-34
2-35
Schemetics (FigLre 8
2-4
2-4
.
Z-5
.,
Z-5
Block Diagrams
(Rfmsl thmll)
Tliru
2-8
2-37
PERCUSSION
2-37
Operation
REVERBERAT10H
Fluid
2-39
Type
Filling
1)
2-3B
Percussion Cui-Dff
llluilralion (Figure
2-36
thru 9)
Block DiaQraini
ft
2-42
2-9
Dry Type
2-11
2-12
Initallaiior^of
Tone Cabineti
(Figure 2 thru 6)
Service Suggaitions
Earlier
GBMUTOR
Tone Cabinets
JHuitntionslFiBure
thni3t
2-14
2-43
PR & QR
Generator lliuitretioni
2-12
2-41
& Adjustment
91 Fraquancy Ganentor
Generator
2-4G
2}
82 Frequency Generator
D. E.
VIBRATO
Modsi
CABLES
Models BC,
2-27
ModelE
INSTALLATION MAINTENANCE
CHORUS
2-2B
Une Box
2-24
A-10Q, D-1D0. E
Malchir^g Transformers
Preset Keys
INFORMATION
Model
2-23
2-24
Modal
1-19
System
Wtring Diegrama
2-23
0-100
SECTION
ft
2-23
&
Pedal
1-15
Console)
RT-2, RT-3
Modal E
Models
ftevertjeration
HI
Models
PRESET PANELS
2-44
2-44
2-44
2-44
PAGE
2-45
ECHO EQUIPMEIIT
(Fiflure
&
2-i5
2]
2*7
Modal B & BC
Echo
of
iQUfa 5
Kit (f
&
6)
2-48
2-49
Earphones
SECTION
tfl
LIST
Modals
3-2
e.G
A. B. BC, 0,
3-2
3-3
ModeU'100
Schematic (Figure 30)
Wiring Diagram (Figure 31
3-40
Winng Diagram
Schematic
(Figure 17]
18)
(Fiflura
3-41
3-41
(Figure 13)
3-42
3-42
3-43
3-44
3-45
(USED
MODELS H-40,HR-40
IN
3-48
(Figure 19)
9B)
3-47
3-47
PRE'AHPUFIER SCHEMATICS
3-4
Models
3-5
Models
3-6
Model C-2G
Efl-20,
ModelD'20.F-40,FR-40
3-59
3-60
3-40
(Figure 11)
3-59
3-4
Model 9V, CV
3-47
20A)
Wiring Diagram
3-6
(USED
Schematic
3-7
Modal JR-20
(Figure 22)
3-8
Model JR-20
(Figure
22A)
3-49
Model JR-20
(Figure
22B)
3-49
Models 82 & C2
Wiring Diagram (Figure 2D)
3-8
3-9
Schematic (Figuie 21
3-10
3-11
Model
DR-2aG,0X-20
2-47
Model A
Winng
TONE CABINETS)
ModalE
Eariy
Kit
Install Kit
PABE
Echo Organ
Block Oiiflrams
l^
3-48
PREAMPLIFIERS SCHEMATICS
Models
3-50
3-11
(USED
3-12
3-50
3-86
3-51
Dl 00
3-66
Model E
TONE CABINETS
Models PR-40, QR-40
Models PR-40, DR-40 (Figure 26A)
3-18
3-19
Schematic IBV^BC^
&
3-13
SEEPAGE
3-5
3-54
later units
Q40
Q40
Models P-40.
Models P-40,
3-53
Schematic
3-13
Modal RT
3-52
3-67
318
1)
IN
3-55
(rfgurs 29)
3-56
Schemetic
3-14
Modal PR 20
3-57
3-14
3-5B
3-14
Model RT-2
8i
SEE PAGE
(Figure 21
POWER AMPLIFIERS
{USED
HT-2)
3-10
3-16
Model RT-3
Wiring Dfagram (Figure 26A|
SchBmBlic|B-3, C-3,
3-16
{figure 24)
3-12
3-61
00
3-61
3-62
3-6B
REVERBERATION AMPLIFIERS
(USED
General
A-1
fiLflT'3)
SEE PAGE
CONSOLES)
IN
MODEL
CONSOLES)
IN
3-63
Wiring Diagrams
3-22
(Figure 35)
3-64
Tuning
3-Z3
(Rgure35A)
3-65
&
B)
3-24
3-25
Modai RT Schematic
IMUBLE LOCATION
69
3-69
Trouble Shooting
3-26
Sectionalizmg Trouble
3-75
Tube Voltages
3-Z8
3-BO
Service Suggestions
3-29
Repepr
3-82
3-30
Removing Parts
3-31
Parts Us!
4B,&4C)
3-31
3-32
SECTION
IV
41
ALIGNMENT PROCEDURES
4-1
Alignment
of Coil
4-1
Assemblies
4-4
AMPLIFICATION SYSTEM
4-4
Pre-Amplitier Schematici
Modal A
3-35
(Figure 1)
Models A
&
ModelsA^B.
C. D,
(Figure
Made[sAV,
& 3)
Player & G
4 & 5)
B (Figure 2
ModaJ
&
9)
6-1
5-1
Components
5-9
Replacement
SECTION
3-38
7)
[Rgura B
SECTION V
of
3-37
DV & RT
3-3B
(Figure 6)
Model E (Figure
3-36
3-39
VI
6-1
PARTS LIST
6-5
B-3, C-3
Manual
etc.)
6'23
6-31
CABTNET SIZE:
FINISH:
AMERICAN WALKUT
MANUALS
38-1/2" DEEP.
PEDAL
KEYBOARDS:
TONAL
CONTROLS:
EXPRESSION!
FEATURES
AC INPUT
HEI6HTI
AS ILLUSTRATED, APPROX,
359 POUNDS.
MODEL AB
CABINET
MODEL A - AB
SIZE:
AS-3/i" WIDE,
MODEL BCt
FINISH:
WALNUT.
MODEL BV!
FINISH:
WALNUT.
MODEL BCVi
MOOa. B-2
FINISH:
SAME AS MODEL BV BUT WITH CONTROLS WHICH PROVIDE VIBRATO OK EITHER OR BOTH MANUALS. ALSO
ADDITIONAL CONTROL FOR '^NORMAL" OR ''SOFT"
0\^RALL VOLUME.
(IN PRODUCTION DECEMBER 1949 TO DECEMBER 1954J
WALNUT.
MODEL B-3
FINISH:
WALNUT -CHERRY.
MANUALS
PEDAL
KEVBOARDl
TONAL
CONTROLS;.
AC INPUT:
WEIGHT!
RE-
l-l
MODEL B-A
THIS INSTRUMENT IS TONALLY AND ELECTRICALLY SIMILAR TO THE MODEL BC CONSOLE DESCRIBED OK THE
PRECEDING PAGES.
IN ADDITION TO NORMAL PLAYING IT COULD ALSO
BE PLAYED WITH ROLLS SIMILAR TO A PLAYER PIANO,
>
CHURCH MODELS
CV,
MODEL C
CABTKH"
SIZE:
46-3/4"
WALNUT.
MODEL CV
MODEL C-2
MODEL D:
FINISH;
WALNUT.
MODEL DV:
MANUALS!
t.T:DE,
FINISH:
FINISH:
PEDAL
KEYBOARD!
WALNUT.
(IN PRODUCTION DECEMBER 1949 TO DECEMBER 1954).
SAME AS MODEL CV BUT WITH CONTROLS WHICH PROVIDE VIBRATO ON EITHER OR BOTH MANUALS. ALSO
ADDITIONAL CONTROL FOR "NORMAL" OR "SOFT"
OVERALL VOLUME,
TONAL
CONTROLS!
FINISH
WALNUT
AC INPUTl
MODEL C-3
WEIGKTs
FTNISH:
1-2
C,
WALNUT - OAK.
LATER VERSION IN BOTH FINISHES
LESS QDATREFOIL.
RE'
The Model G consoles and tone cabinets were built for the
Government, and now will be found in use throughout the
United States and foreign countries In chapels of all services, Officers Clubs, or recreation service buildings.
CONCERT MODEL E
MODEL El
CABINET
SIZE;
FIMSHt
WALNUT
MANUALS;
PEDAL
KEYBOARD:
TONAL
9 PRESET BUTTONS AND 2 SETS OF 9 ADJUSTABLE HARMONIC DRAWBARS FOR EACH MANUAL: FOR PEDALS - 4
NUMBERED AND LABELED TOE PISTONS 2 ADJUSTABLE
DRAls^ARS <16' AND 8") AND GREAT TO PEDAL S'
COUPLER
CONTROLS:
EXPRESSION!
FEATURES:
AC INPUT:
WEIGHT;
1-3
MODEL RT:
CABINET
SIZE:
FINISH
MODETL
{IN PRODUCTION JULY 1949 TO SEPTEMBER 1949)EQUIPPED WITH HAMMOND VIBRATO PROVIDTSG THREE
DEGREES OF TRUE VIBRATO AND AN "OFF" POSITION,
EFFECTIVE SIMULTANEOUSLY ON BOTH MANUALS, TOGETHEE WITH VIBRATO CHORUS USABLE IN THREE
DIFFERENT DEGREES AND "OFF",
WALNUT-
MODEL RT'3;
1-4
TONAL
CONTROLS;
9 PRESET KEYS AND 2 SETS OF 9 ADJUSTABLE HARMONIC DRAWBARS FOR EACH MANUAL; FOR PEDALS,
TWO ADJUSTABLE DRAWBARS (16' AND 8').
WALNUT.
fiT-2!
WALNUT - OAK,
PEDAL
KEYBOARDS:
PEDAL SOLO
SYSTEM!
FINISH:
FINISH:
MANUALS
EXPRESSION'
AC TNPOTa
WEIGHT;
-1\
MODEL
CABINET
BUT WITH
A-100
A-101
A-102
(IN
A-105
C-3
BUILT-IN
C-3
BUT
MODEL
D-100
(IN
PRODUCTION
1963
TO
1969).
SAME AS
RT-3
CABINET
FINISH
SIZE
SAME AS RT
D-152
D-155
OUTPUT
WALNUT
OAK
50
WAHS 3
AC INPUT:
APPROXIMATELY
WEIGHT
1-4 B
330
WATTS
LBS.
Mim
27" WIDE,
FINISH
AMERICAN WAINUT
weiGHT:
OUTPUT;
AC INPUT:
JTJLY 1939)
30*'
113 POUNDS
20 WATTS -
AMPLIFIER^
- 12" SPEAKERS,
HQ3>Q. A-40:
CABINET
SIZE;
FINISH:
BLACK LACQUER.
WEIGHTS
155 POUNDS
OUTPUT!
iO WATTS -
AC INPUT:
AMPLIFIERS,
- 12" SPEAKERS
A NON-DECORATIVE, DOUBLE -STRENGTH CABINET, DESIGNED FOR USE IN BANKS OF FOUR OR MORE, IN
LARGE INSTALLATIONS WHERE THE CABINETS ARE
CONCEALED.
1-5
MODEL B-40!
FIMSH
WEIGHT;
WALNUT STAIN
225 POUNDS
OUTPUT!
f*Q
AC INPUT:
WATTS
AMPLIFIERS.
U"
SPEAKERS.
Am
MODEL C-20!
M0DEL CR-20;
MODEL CX-ZO:
MODEL CXR-20!
DIMENSIONS:
FINISH
WEIGHT:
1-6
153 POUNDS
AMPLI?TKR,
OUTPUTS
20 WATTS,
AC INPUT:
- 12" SPEAKERS
MODEL C-40i
27-1/2" DEEP,
CABINET SIZE:
38" WIDE.
FiNISHi
WALNUT STAIN
WEIGHT:
313 POUNDS
OirrPUT:
UO WATTS -
AC INPUT;
MODEL D-ZO:
MODEL DX-20:
MODEL DR-20!
MODEL DXR-ZOl
CABINET SIZE!
FINISH:
WEIGKT!
16-3/4" DEEP.
OUTPUT:
AC INPUT!
1-7
MODEL ER-20;
CABINET
SIZE:
FINISH:
WEIGHT:
WALmJT,
lii POUNDS.
AMPLIFIER,
OUTPUT:
20 WATTS -
AC IKPUTt
12^'
SPEAKERS
ilii
iiiii
MODEL FR-40
CABINET SIZE:
FINISH;
WALNUT STAIN
tClGKri
OUTPUT I
40 WATTS -
AC INPLTT:
1-8
MODEL PR-40
MODEL PR-40!
WEIGHT!
130 POUNDS
HODfiL aR-40:
MODEL QR-40
EQUIPPED WITH TWO 15" SPEAKERS FOR BASS TONES AND TWO
iZ" SPEAKERS FOR THE TREBLE TONES.
THEY PROVIDE THREE
DIMENSION AMPLIFICATION WHICH CREATES A BEAUTIFUL REVERBERATION EFFECT IN STEREO. THESE CABINETS FEATURE
THE NEW AND IMPROVED HAMMOND REVERBERATION CONTROL FOR
BOTH BASS AND TREBLE TONES. CONVENIENT OUTSIDE CONTROLS
MAKE IT EASY TO CHANGE THE DEGREE OF REVERBERATION FOR
EACH.
121 POUNDS
AC INPUT:
220 WATTS
OUTPUT:
50 WATTS E.I. A.
I-II
1-12
THEORY OF OPERATION
The console of the Hammond Organ contains the entire tone-producing
mechanism, which is completely electrical in operation. Within it are
produced ail the tones and tone combinations of the organ. The electrical
waves are made audible, as music, by one or more tone cabinets containing
suitable amplifiers and loud speakers. The block diagrams (Figures 13 and
14) show the chief components of the instrument.
Electrical impulses of various frequencies are produced within a unit known
as the "tone generator'\ containing a number of "phonic wheels" or "tone wheels
driven at predetermined speeds by a motor and gear arrangement. Each
phonic wheel is similar to a gear, with high and low spots, or teeth, on its
edge. As the wheel rotates these teeth pass near a permanent magnet, and
the resulting variations in the magnetic field induce a voltage in a coil
wound on the magnet. This small voltage, when suitably filtered, produces
one note of the musical scale, its pitch or frequency depending on the number
of teeth passing the magnet each second,
II
A note of the organ, played on either manual or the pedal keyboard, generally
consists of a fundamental pitch and a nuiiiber of harmonics, or multiples
of the fundamental frequency. The fimdamental and eight harmonics available
on each playing key are individually controllable by means of drawbars and
preset keys or buttons. By suitable adjustment of these controls the player
is enabled to vary the tone colors at will.
The resulting signal passes through the expression or volume control and
through the preamplifier (where vibrato is introduced) to the tone cabinet.
is added electrically and a power amplifier feeds the
signal into loud speakers,
Here reverberation
DESCRIPTION
A Hammond Ofgan
Still
ition.
normal
position.
the console is very cold, or if a frequency regulator is used, it may be necessary to hold the
If
FIGURE
1-13
1-12
THEORY OF OPERATION
The console of the Hammond Organ contains the entire tone-producing
mechanism^ which is completely electrical in operation. Within it are
produced all the tones and tone combinations of the organ. The electrical
waves are made audible, as music, by one or more tone cabinets containing
suitable amplifiers and loud speakers. The block diagrams (Figures 13 and
14) show the chief components of the instrument.
Electrical impulses of various frequencies are produced within a unit known
as the "tone generator", containing a number of "phonic wheels" or "tone wheels
driven at predetermined speeds by a motor and gear arrangement. Each
phonic wheel is similar to a gear, with high and low spots, or teeth, on its
edge. As the wheel rotates these teeth pass near a permanent magnet, and
the resulting variations in the magnetic field induce a voltage in a coil
wound on the magnet. This small voltage, when suitably filtered, produces
one note of the musical scale, its pitch or frequency depending on the number
of teeth passing the magnet each second.
A note of the organ, played on either manual or the pedal keyboard, generally
consists of a fundamental pitch and a number of harmonics, or multiples
of the fundamental frequency. The fundamental and eight harmonics available
on each playing key are individually controllable by means of drawbars and
preset keys or buttons. By suitable adjustment of these controls the player
is enabled to vary the tone colors at will.
The resulting signal passes through the expression or volume control and
through the preamplifier (where vibrato is introduced) to the tone cabinet.
Here reverberation is added electrically and a power amplifier feeds the
signal into loud speakers.
DESCRIPTI ON
A Hammond
Still
ition.
normal position.
the console is very cold, or if a frequency regulator is used, it may be necessary to hold the
start switch slightly longer.
If
FIGURE
1-13
THE
CONCERT MODEL
HAMMOND
ORGAN
THE
HOME MODEL
HAMMOND
ORGAN
FIGURE
PRESET KEYS
left end of each manual are twelve keys identical to the playing keys
color. (Fig. 3). These are replaced by twelve nuinbered
except reversed
buttons on the Model E console.
At the
When
down and
is
1-14
either adjust key is depressed, the organ speaks with whatever tone color is set
up on the harmonic drawbars associBted with that key. The percussion effect on Models
B-3, C-3, RT-3, A-100 & D- 100 is introduced when the upper manual "B' preset key is
depressed (see ''percussion" also).
HARMONIC DRAWBARS
Each console has four sets of harmonic drawbars, two for each manual. Fig4 shows one group of harmonic drawbars, by which the organist is enabled
ure
aTH HARfc*ONtC
6TH HARMONIC
5TK HARMONIC
4TH HARMONIC
3RD HARMONIC
FIGURE
to mix the fundamental and any, or all, of eight different harmonics in various
proportions. The third bar from the left controls the fundamental, and each of
the other bars is associated with a separate harmonic. If a drawbar is set all
the way in, tht' harmonic it represents is not present in the mixture.
-silent spots
MODEL E CONSOLE
tour pedal toe pistons are located to
the left of the expression pedals. Numbers one and two of these pistons are
pedal presets. The third is a Great-toPedal coupler, which makes the pedals
speak with whatever 8 foot tone is set
up on the Great manual. The left pedal
drawbar may he used with the coupler
to add 16 foot tone. The fourth piston
connects the pedals to the two pedal
drawbars.
FIGURE
Lighted piston indicators are provided on the left aide of the console
just above the Swell manual. Each
timt' a toe piston is depressed, the
proper indicator is automatically
illuminated so Che organist always
knows which toe piston is depressed.
1-15
solo unit
tones
in
is
incorporated
and
all
eight
tilting
MODELS
vacuum tube
stop tablets located at the right end of the Great manual (Fig.
The pedal
in
solo unit
is
off
independent
of the
5).
pitch registers
One
tablet turns
and tone
colors.
off
This control (Fig. 3} is a tilting tablet which supplements the action of the
expression pedal. In "'soft" position it reduces the volume of the whole
instrument. It is particularly useful when playing in a small room or when
wishes to practice without disturbing others,
the organist
CHO R
CQNT ROL
D,
DV, E)
(Fig.
6)
the organ is played with the chorus drawbar pushed in (the "off'' position)
exactly the same way as though no chorus were included. Pulling
operates
he drawbar out (to the "on" position) instantaneously adds the ensemble or
-lorus t-ffecl to whatever is being played. Actually it adds a series of slightly
sharp and slightly flat tones to the true tones produced by the main generator.
The resulting electrical wave contams a complex series of undulations which
enhance the pleasing effect of many tone qualities, notably string and full
When
it
organ combinations.
The chorus control should not be confusi^d with the "vibrato chorus" effect,
described under "vibrato". The two effects are similar musically, but are
produced by completely different means.
Two expression pedals are provided for the Model E Console. Both are
equipped with adjustable clamps to regulate the tension and the distance
through which they move. Adjustable pedal indicators, operated by wires
from the rheostat box. are located at the extreme right side of the console
above the Swell manual.
ECHO SWITCH
Located above the starting and running switches
on some consoles is the "echo switch" (Fig. 6).
With this switch it is possible to use two tone cabi
nets and have either cabinet or both speak, depending on the position of the switch. Generally
one tone cabinet is placed rather distant from
the console and is called the "echo organ". This
feature can be added to a Hammond Organ by
installation of an "Echo switch kit".
FIGURE
1-16
TREMULANT
The tremulant or tremolo is a periodic variation in intensity of all tones
without change in pitch. It is produced by a variable resistance driven by
the motor of the main tone generator, and is controlled by a variable resistor
in shunt. When the tremulant control is turned as far as possible to the left,
the tremulant is entirely off- As it is turned to the right (clockwise) the degree
of tremolo gradually increases until it reaches a maximum at the extreme right
position. The while dot marker on the knob indicates at a glance the degree of
tremolo present. Two tremulant controls are used on the Model E console, one
for each manual. These are controlled by separate levers located on the console.
The tremulant
is
not incorporated in
VIBRATO
effect is created by a periodic
raising and lowering of pitch> and thus is fundamentally different from a tremolo, or loudness variation. It is comparable to the effect
produced when a violinist moves his finger
back and forth on a string while playing,
varying the frequency while maintaining
constant volume.
The vibrato
time delay
FIGURE
When
the ''vibrato chorus" switch (Fig- 7) (Models AV, BV, BCV, CV.
DV, and RT) is pushed to the left, normal vibrato is obtained with the
vibrato switch in positions 1, Z, or 3. When the lever is pushed to the
right a chorus or ensemble effect, combining foundation organ tone with
vibrato tone, is obtained. The center position of this switch is not intended
used.
to be
No harm will result from leaving the switch in this position, but
reduced volume will be obtained.
Models
effect available
on
either
pedals as well as
The vibrato
for the
is not
Iv^'O
The "Great"
Great manual.
PERCUSSION
The Percussion teaUjre {Models B-3, C3, RT'3, A-100 & D-lOO) is controlled by
four
tilling
right Side of
only
when
upper
the
'B'
is
manual and
preset key
Is
or soft
Volume,
second
FIGURE
where
its
Of third
fast or
Harmonic lone
quality-
The Percussion
I-I7
TONE GENERATOR
91 different musical frequencies,
includes a tone wheels magnet, and coil
modeL
It
for each frequency. Mounted on top of the generator are tuned filters to
insure purity of the tones,
PREAMPLIFIER
The preamplifier
is
TONE CABINETS
Tone cabinets are made in a number of models differing in size, finishj and
power output. The numbt-rs 20 and 40 in the model designations indicate the
nominal pow^t'r output in watts. Each tone cabinet includes one or two power
aniplifier^ and two or
more speakers.
Cables of special design are used to connect the console to the tone cabinet
or cabinets,
REVERBERATION CONTROL
the letter R within the model designation are equipped
with the Hammond Reverberation Control. This is an electro -rnechanical
device designed to supply reverberation for installations that are accoustically "dead" or have insufficient natural reverberation. A portion of the
musical signal is delayed by passing through fluid-damped coil springs and
with
direct
then
adjustment
combined
the
signal.
By
of the
amount
of
may
ROTOR TREMULANT
Tone cabinets having the letter X in their model designation contain a drum
rotor inount*^d above the speakers and driven by a small motor. Rotating in
the path of sound from the loud speal^ers, it produces the effect of a periodic
voluzne and pitch variation in all tones of the organ.
A switch for controlling its operation can be mounted on the tone cabinet, or
an additional cable w^ith a switch located at the console may be used.
When
use
1-18
of the rotor
tremulant
Hammond
is
not
Vibrato
is
recommended.
POWER AMPLIFIER
A- 100
the signal
speakers
from
mounted on
is
D-100
fifty watt three channel amplifier (bass with reverberation, treble, treble
with reverberation) together with its independent power supply is located on
the lower shelf of the console. It receives the signal from the preamplifier
and furnishes power to drive the Z-12^' speakers and Z-8^' speakers.
REVERBERATION SYSTEM
A-lOO
To the
left of the
D-100
To the left of the pedal solo generator is the Hammond Reverberation unit. Signals from the preamplifier are applied to the ^'treble with reverberation" channel
of the power amplifier and are heard from the 8'^ speaker located to the right
of the player.
In operation, an electrical signal from the reverberation drive channel is applied to the driver unit in the reverberation device which then converts the
electrical signal into mechanical energy. This energy is transmitted through
springs to a pickup unit w^here a part of it is converted back to electrical
energy. The remaining portion is reflected back to the driver and again back
to the pickup at a time interval determined by the spring lengths. This transaction continues until the signal energy is reduced to one millionth of its original value. The transfer time from driver to pickup and the reflections within
the systen^ itself produce the reverberation effect.
1-19
SECTION n
ACOUSTICS
IN
INSTALLATION S IN
GENERAL
is
accomplished.
4.
PROPERLY REVERBERATED.
The observance of these rules with due consideration to the particular use for which
the instrument is required will Insure the best possible installation m any type of
enclosure. These rules will be discussed in detail in the following pages.
P OWER
There are so many factors which have a bearing on the amount of power or sound energy
necessary for best musical results in a t^iven enclosure that an accurate formula for
determinins^ the required power in all cases would be too cumbersome for everyday use.
that it is very seldom that too many tone cabinets are specified.
Therefore> if there is doubt as to the sufficiency of tone cabinets for any Installation
Lt is reasonably safe to double this amount.
This will j:reatW improve the musical
quality of the instrument and elimmate overloading of the speakers. Some of the factors
which have a bearing on the amount of tone cabinet equipment required in any enclosure
are the size and shape of the enclosure, placement of tone cabinets, amount and location of
sound-absorbing materials including persons present in the enclosure. The use for which
the organ is desired also has a bearinfc on requirements; for example^ an organ to be
used primarily to support congregational singing would require more tone cabinets
than one that is to be used mainly for accompaniment of soloists or light entertainment.
The following conditions in an enclosure, therefore, usually indicate that more than
an average installation may be required:
i. When the area of the boundaries of the enclosure is great in proportion to the volume
of the enclosure- Thus, an enclosure of irregular shape having numerous alcoves, etc.,
would require more lone cabmets than one of cubical shape.
2. When the tone cabinets are located in a position where considerable sound absorption takes place before the music reaches the listener. A poorly designed or constructed organ chamber is an example.
When acoustical correction materials are used on walls or ceiling, when heavy drapes
3are present and carpets are used for floor covering.
4. When seating capacity is high for the size of the enclosure. For practical purposes
an open window is considered as an area of 100 percent absorption of sound. A single
person absorbs about as much sound as four square ieet of open window. Therefore, an
audience of 1,000 people will have the effect on music volume of an open window area of
4.000 square feet as compared with the volume heard when the enclosure is empty. To
offset this absorption, a disproportionately greater amount of tone cabinet equipment
must be used.
DISTRIBUTION
The sound energy from the organ should be distributed as evenly as possible throughout
the enclosure- In order that this may be accomplished, it is important that the sound
be distributed in the auditorium above the listeners and that a large percentage of the
sound reaching the listener is by numerous reflections from the walls and ceiling.
Direct projection as well as direct reflection from the speakers should not reach the
listener. Focusing effects of curved surfaces such as barreled ceilings often cause
difficulty in sound distribution unless the tone cabinet is so located as to reduce the
direct sound energy that reaches these surfaces.
BALAN CE
The placement of console and tone cabinets should be carefully planned so that the
following conditions are fulfilled:
1.
The organ should sound as loud or slightly louder to the organist at the console
than it does to the audience. This allows the organist to accurately judge the musical effect he is producing and make any necessary corrections before the audience
appreciates the need for them. It also reduces the tendency of playing too loud which is
usually evident when the organist hears the or^an at a lower level than the audience.
2. The organist should hear the organ and the choir with the same relative loudness
that the audience hears them, otherwise a perfect tonal balance between organ and
choir from the organist's point of hearing will result in an unbalanced effect as heard
by the audience. When we refer to the choir we also include instrumental groups or
soloists who may have occasion to perform in conjunction with the organ.
3. The tonal equipment of the organ should be so located that the choir, while singingi
has adequate support from the organ when played at accompaniment volume. They
should noln however, hear the organ so loudly as to have difficulty in singing with itGood lonal balance and ease of performance should result if the average distance
between choir and tone cabinets is about the same distance as between tone cabinets
and organist.
4. The audience should hear the choir and the organ as a balanced ensemble, and
the tone cabinets should be so placed that the choir voices will not te obscured by
the
organ tones.
2-1
REVE KBEIL^TION
Reverberation is the prolongatian or persistence of sound by reflection, what we
usually mean by "echo". It is measurable by the interval of time required for the
sound to decay to inaudibility after the source of the sound has been stopped. It is
present in a varying decree m all enclosures and most types of music are more
pleasing to the ear when accompanied by a certain amount of reverberation. It is
also the most important single factor to be considered in planning an organ installation as proper reverberation makes it easier to attain all of the other requirements
A reverberation time
REVERBERATION CHAMBERS
it is desired to conceal the organ tone cabinets and there is adequate space
available, a properly designed reverberation chamber may be very effective in supplying reverberation for the organ tones. In many cases, however, the space allotted for
use as a reverberation chamber is anything but ideal, and often, because of structural
limitations, little can be done to improve the effectiveness of the chamber other than
When
SIZE
the reverberation time increases as the size of the chamber increases, the chaml>er
should be as large as possible. Experience has shown that practically the only exceptions to this rule are when the shape of the chamber may be improved by reducing
its size or when the tone opening cannot be made large enough in proportion to the size
of the chamber. For best musical results the chamber should be at least 800 cubic feet
in volume. The dimensions of the chamber are in most cases ideal if they are in the
ratio of approximately 2:3:4 1/2, A chamber of equal volume but more cubical In
form would have a longer reverberation time^ while a chamber of less cubical form
would have a shorter reverberation time; however, dimensions in the above ratio usually
are most desirable. Chambers of complex shape or chambers of regular shape whose
greatest dimension is more than three times the least dimension should be avoided ,
As
2-2
H
til
b]
<
o
o
O
H
o
3
00000
^
iTi
r^
CO
VOEUlvlE OF
o
o
o^
o
o
o
o
CHAMBER
FIGURE
o
o
00
00
"1
IN
o
o
u-l
O
O
%0
CO
f^
CUBIC FEET
1.
TONE OPENINGS
The reverberation time of an organ chamber is greatly influenced by the size of the
For a chamber of given dimensions, the reverberation time is increased
as the area of the tone opening is reduced, A large chamber, therefore, may have a
large tone opening and still furnish sufficient reverberation, whereas a small chamber
might require a very small opening. A chart is shown in Figure 1, giving the area of
tone opening lequired to furnish one second reverberation time when the volume of
the chamber is known. This chart is for chambers with dimensions in the ratio of
2:3:4 1/2 only; however, in practice the areas of tone opening shown are generally
tone opening.
satisfactory.
The
chamber
if
INSTALLATION AN D M AINTENANCE
The organ must be connected
When a console is set up for operation the anchoring must be loosened so that
the generator will float freely on its spring suspension systen]. No damage
if this is not done, but the console "svill sound noisy, and the same
is true if the anchoring is loosened but the console is not level. If the console
is to be moved a long distance the anchoring should be tightened during such
will result
moves.
Several different types of anchoring have been employed and instructions for
loosening and tightening the generator in any particular consoleare given on
the instruction card contained in the bench which accompanied that console.
is
recommended
2-3
CABLES
Each console is shipped from the factory with cables sufficient for an
ordinary installation having a single tone cabinet. It has a 15 foot Z conductor
line cord for connecting to an AC wall outlet, and a 35 foot console -to-cabinet
cable (6 conductor or 5 conductor, depending on the console model) to connect
to the first power amplifier. In case the console is located an unusually long
distance from the tone cabmet, additional 6 or 5 conductor cable must be
ordered. If the console has an echo switch, a b conductor cable of the required
length must be ordered separately to connect it to the echo tone cabinet. (See
"Echo Organ Wiring'', on the following page).
For Installations having two or more tone cabinets, cable suitable in length
must be secured to connect betv-een cabinets. Each power amplifier has a 6
pole input plug and a 5 pole coupling receptacle for connecting additional amplifiers.
Conductor
mode ls A. B B A BCj
onsole -to -cabinet cable used only
This is used only between these models
<::>x\
of consoles and the first power amplifier, and has a 6 pole plug at one end and
a 6 pole receptacle at the other. It consists of two AC wires, two grid (signal)
wires, a B plus wire to carry plate current from the first power amplifier to
the console preamplifier, and a ground (signal return) conductor^ which is
actually a shield over the B plus wire. This cable is especially designed for
use with the Hammond Or^an and is approved by the Underwriters* Laboratories
for that purpose
,
3 Conductor cabinet -to-cabinet cable. This is used for carrying only the
signal between amplifiers, and is used for connecting cabinets when external AC
power vircuits are employed- It is standard 3 conductor indoor telephone cord
5 pole plugs on both ends. A cable may be made up with a number of
plugs along its length in order to connect several cabinets together. This wire
can be secured from your local electrical jobber,
and has
All cables with the exception of the 3 conductor may be ordered in lengths
as shown on current price list, with or without connectors attached- Figure 10
shows how all connectors are wired.
1-S406-CCE
-P406-WP
1
6
6
prong socket
prong plug with wall plate
1-P4C6-CCE
-S406-WP
1
ks
prong plug
prong socket with wail plate
BLOCK DIAGRAMS
Figure 1 is a simplified diagram showing how the console is connected to
a single tone cabinet or group of cabinets drawing not over 620 watts input.
This is the maximum AC power which can be supplied through the console
without damaging the console switch or wiring. The name plate on each cabinet
shows its wattage rating.
2-4
r
If the lone cabinet power requirerrjents exceed 6Z0 watts, some of the cabinets
a separate AC source as indicated in figures 2 and 3.
Figure Z is the preferred method, employing a relay to turn on the additional
cabinets. The relay must have a coil of the samke voltage and frequency rating
as the organ, and must have contacts suitable for carrying the an^ount of power
drawn by the additional cabinets. Allen -B radley Bulletin 700 relays are suitable
for this purpose and may be obtained from your electrical supplier.
When
2
and
the
3,
rnaximum
of 620 watts
AC
input,
may
arrangement
of figure
3.
in the block
cabinet signal circuits, and ail cabinets remain energized so that they will sound
instantly when desired. Figure 9 shows the cable connections required.
REVERBERATION EQUIPMENT
Some types of tone cabinets have reverberation units and reverberation
preamplifiers built into them. In this case, see the instruction card attached to
the cabinet for correct cable connections. V/hile there are several different
styles of wiring, it will be found that every cabinet has a 6 pole input plug and a
5 pole output receptacle for connecting additional amplifiers. Some reverberation
preamplifiers employ a special detachable coupling cable, wired as shown at the
bottOiTi of figure 10.
In reverberation-equipped tone cabinets type CR-2D, DR-ZO, ER-ZO, FR-40,
and G-40, reverberation is applied to all organ frequencies. In this case only
one reverberation unit is required for any installation, no rnatter how many tone
cabinets are used. The reverberation unit should be in the cabinet which is connected directly to the console, in order that reverberated signal may be supplied
by it to all other cabinets.
In Multi-channel tone cabmets type JK-20, HR-40, KR-40, PR-ZO, PR -40
and QR-40 a reverberated signal is not available to drive succeeding cabinets. For
this reason an installation using several such cabinets must have a reverberation unit in each cabinet if it is desired that reverberation be present in all
cabinets
It is not recommended that Multi -channel cabinets be driven by a reverberated signal from a preceding cabinet because irregularities in the bass response
of the reverberation system may be emphasized by the bass amplifier channel.
In case one of these cabinets is to be used with one or more reverberation cabinets
with the othe
of othe r type s
it should be connected directly to the console
cabinets following it in the usual way,
,
in
fit Llf^
COPD
<J
OH
6-^OMOUCTOH CABLt
{AC POWER. ^lCf-JA!_^ AND
ONE
Cfl
MOW T3NE
OvEH 6^0
rtATTS
B* TO COfJ^OLE)
FIGURE-
I,
2-5
Il
^^^~
TECHNICAL SECTION
MAIN GENERATOR
GENERAL DESCRIPTION
Figure
"bakelite
number
Each driving gear, with its two bakelite gears and four tone wheels, runs
in a separate compartrnent magnetically shielded from the rest by steel
plates which divide the generator into a series of bins.
The two spring couplings on the motor shaft, the flexible couplings
between sections of the drive shaft, and the tone wheel spring couplings
contribute to absorbing variations in motor speed. The synchronous
motor does not deliver absolutely steady power, but rather operates
with a se"ries of pulsations, one with each half cycle. If the tone wheels
were rigidly coupled to the motor, this slight irregularity would carry
extra frequencies into each tone wheel. In addition, "hunting" is suppressed
by the resilient couplings and inertia men^bers of the synchronous motor
all
proper.
2-9
Associated with each tone wheel is a magnetized rod about 1/4 of an inch
in diameter and 4 inches in length, with a coil of wire wound near one end
(See Figure 3). The tip of the magnet at the coil end is ground to a sharp
edge and mounted near the edge of the tone wheel. Each time a tooth passes
it causes a change in the magnetic field which induces a small
voltage in the coil, the frequency being determined by the number of teeth
and the wheel speed,
this rod
Sm.aH coils are used on the higher frequency magnets and larger coils
on the lower frequencies. It is found that large pole pieces are needed on
the low frequency magnets to give good frequency output, but is it necessary
to use smaller ones on the high frequencies to prevent excessive iron losses.
Some of the coils have copper rings mounted on them for the purpose of
reducing harmonics. As these are used only on fairly low frequency coils,
the eddy current loss in such a ring is small for the fundamental frequency
of that coil, but high for its harn^onics. This has the effect of reducing
the relative intensities of any harmonics which may be produced by irregularities in the tone wheels. The wheels are cut so to give as nearly
a sine wave as possiblej but the generated voltage seldom reaches that ideal
condition, since even a change in the air gap will change the wave form. The
each magnet, as well as the edge of each tone wheel, is coated with
lacquer to prevent corrosion, for, should oxidation set in, "the change in
tooth shape would introduce irregular frequencies.
tip of
Locations of the various n^agnet and coil assemblies are shown in Figure 4.
They are identified by their frequency numbers, and the broken line between
any two nuinbers indicates that these two frequencies are supplied by one
tone wheel assembly.
Each magnet
is
while observing an output mieter. Experience has shown that the niagnets
seldom need adjustment and that setting them without proper equipment involves
danger of damaging both magnet and w^heel. Therefore it is not recommended that
the service man attempt this adjustment.
As a means
frequency of that
coil.
hartnonics.
in
Figure
and
6.
They are
aliio
This terminal strip carries the output frequencies of the generator, which
are arbitrarily numbered from 1 to 91 in order of increasing frequency.
This frequency numbering is continued throughout the instrument. In some
models the frequencies are not in order on the terminal strip, and Figures
5 and 6 indicate the arrangement for different models- Several terminals
at the right end are grounded to the generator frame and serve to ground
the manuals and pedals.
Transformers and condensers are not used below frequency 44, but a
length of resistance wire shunts each generator. Frequencies 44 to 48
have transformers only, while both transformers and condensers are used
for frequencies 49 to 91 except in the case of Model A consoles numbered
below 2179, which do not have condensers for frequencies 49 to 54 inclusive.
Two condenser
2-10
There are several types of generators in use and the foilo\^^ing information
will aid the service technician in identifying the console on which work is
being performed.
91
Frequency Generator
Model
serial No.
2676
10,
549
3143
8663
Player consoles
1247
serial No.
9000
9Z09
The number of tone wheels on the above models is 91, and 5 blank wheels
are used to maintain the balance of the rotating units. There are twelve
wheels with two teeth, one to operate at each of twelve speeds, and
similarly twelve have four teeth, twelve have eight teeth, twelve have
sixteen, twelve have thirty-two, twelve have sixty-four, twelve have one
hundred and twenty-eight and seven have one hundred ninety-two. An
assembly with a two-tooth wheel also has a thirty-two tooth wheel which
generates a frequency four octaves above the other. The four and sixty-four
tooth wheels go together, as do the eight and one hundred twenty-eight tooth
wheels. The twelve sixteen tooth wheels are mounted with seven one hundred
ninety-two tooth wheels and the five blank wheels. In this last group the high
frequency is not four octaves above, but is four octaves less five semi^tones
above the lower.
This arrangement gives a total of 91 frequencies that are connected to
corresponding terminals on the generator, and then to the manuals and
pedal switch. In all cases, as mentioned above, the generator must be
used with corresponding manuals and pedal switches and other types of
generators cannot be substituted.
82 Frequency Generator
Model
serial No.
2711
17,
074
8739
17,
074
7349
2677
10,
550
17,
074
to 9.
This generator change accompanies a wiring revision in the manual and pedal
switches which makes the frequencies from 1 to 9 unnecessary. Generators
having but 82 frequencies are easily identified by a blank space on the terminal
strip at the left of the ground terminals* The first terminal at the left of this
space is terminal #10.
91
BV
29737
40303
40459
serial No.
17075
302S7
1201
Z150
in the above consoles, the original two-tooth wheels in the generator have been
replaced with twelve two-tooth com^^lcx tone wheels, which supply a fundamental tone that is enriched with the odd-number harn:ionics. Both manuals
and pedal switch are wired differently and are therefore not interchangeable
with earlier models.
2-11
91
Models'
D-100
2151
and above
This generator has twelve complex tone wheels and is identical to the one
above except for the generator cover. Because the output terminals of this
cover are not in order of frequency (See Figure 6) this type of generator is
not interchangeable with the one above.
Model
Tone Generator
The generator used in Spinet Models M and M-2 has 86 tone wheels and
from other niodels in several other respects. The twelve complex-tone
wheels are different in shape froin those used in other models, and the
generator-to-rnanual cable connects directly to the filter transformer terminals.
For details, refer to Model M or M-2 service book.
differs
Generator Anchoring
When a console is set up for operation the anchoring rnust be loosened so that
the generator will float freely on its spring suspension system. No damage
will result if this is not done, but the console will sound noisy, and the same
is true if the anchoring is loosened but the console is not level. If the console
is to be moved a long distance the anchoring should be tightened during such
moves.
Several different types of anchoring have been employed and instructions for
loosening and tightening the generator in any particular console are given on
the instruction card contained in the bench which accompained that console.
TOBlE WVJtE-L^
nAtr^iy
O^ntviTt
CO(L
CCLl.
r^fcirtir
ttfcw
BfcHCLat
Oft*IHS
GEAR
Z.
CO<L
OUT^T
UAQ^CT
TERMINAL
TO'VE
2-12
TONE GENtHATOR
WHEEL
GEAR
'
4,
FILTER
OUTPUT
FIGURES
1"t.R*^iEHAi,
WODEL^
Fptg^StV
^J^_^^ABE.Pi
GENERftTOR COVER
-MA'.M
ft,&T&Ci6VfcC.C^,t,nv,e,
AMP
RT
OF TflftKSfOHWEa.S
FILTER TRJ^P^^FoRHtfti
MOTO^
Etal
CD1iJH>4SR5
-.
^ ^
Tr_
^
It
Afl
flF
ii fi
2J_Sr
4^ 2t tZ
14
*1
5*.
73
II
fi7
fl
a*
CJiJTPuT TtffMINAL
ift
J?
.1
4fl
54 34 ta
41
gi
<^5
77
[-P
S?
11 14
7^
IC
^?
*-fc
75
rV &3
rs
Si
^
fl^
U
flO
B
?d
44
S* 17
33
15
41
FBt^fiUfV NUM&f-ft^
2-13
CHORUS GENERATOR
(Used
in
The purpose
This generator has forty -eight tone wheels, each with a separate magnet and pick-up coil. Of these tone wheels, twenty-four are single and
twenty-four are double (see Figure 1). The double tone wheels consist
of two discs wilh different nurribers of teeth mounted on one brass hub.
The single wheels are electrically connected in pairs, each pair being
BO connected as to have the sarne effect as one double wheel.
Fijjure Z is a complete wiring diagram for connections between main
and chorus j^enerators, and Figure 3 is a back view of the chorus
generator indicating the frequency number of each magnet.
<z<Z'a.
^<z<z<z
^^
CABLE CONNECTIONS
TO CHORUS GENERATOR
Figure
i.
@@@@@0
H
>
o
-I
o
SB
The rotor
of this
and engage
generator up
to slightly
chronous speed.
When the organ is started, the starting switch is turned on and held
for about 8 seconds while the starting motor brings the system up to
speed. The "run" switch is then turned on. This switch simultaneously
connects the synchronous motor and introduces a resistor in series
with the starting motor (Figure l), thus reducing its driving power.
With a braking action of the synchronous motor and a loss of power
of the starting motor, the system slows to synchronous speed and
the synchronous motor begins to carry the load. A period of about
B seconds should be allowed for this to take place, after which the
starting switch may be released. The starting switch springs back
to the "off" position, and turns off the starting motor, which is
disengaged from the rotating shaft by a springshould be noted that the synchronous motor can supply power only
synchronous speed, Thereforei if for any reason the system fails
to reach synchronous speed it will not continue to run after the starting switch is released. Failure to start properly is usually due to
increased oil viscosity and may be overconne by an increase in starting time.
It
at
As
is
used.
0.
<
Q
WZ
STARTING MOTORS
SYNCHRONOUS MOTORS
m<
-J
CHORUS
MAIN
MAIN
CHORUS
<
ON
ON
A
OFF
OFF
-START"
rvVXAA*-
SWITCH
"RUN"
SWITCH
u
<
FIGURE
SWITCH AND MOTOR CIRCUITS
I
2-15
BI^CK
BHOWH
B1.UE
flLJ\CK
ON
ON
OFF
YELLOW
BHOMfN
TEL-LOW
OFF
BLUE
SWITCH USED
IN
LATE MODEL
S. C.
B-Z, C-l. ETC.
],N
FIG 2
TWO TYPES OF BUN' SWITCHES
GOO GOO
WIRE WOUND
RESISTOR
"RUN" SWITCH
BROWN
"START''
SYNCHRONOUS MOTOR
BLUE
SYNCHRONOUS MOTOR
1-RED 1-BLACK OR BLUE
PREAMPLIFIER BLUE
SWITCH BLACK
YELLOW
SWITCH BROWN
'RUN" SWITCH
"RUN" SWITCH
PREAMPLIFIER GREY
OR BLUE
I^INE
FIG,
BLACK
l^RED, I-BLACK
CORD GREY
o o o o o o
@ @
WIRE WOUND
ej
RESISTOR
P
BLUE-
STARTING MOTOR
YELLOW
- YELLOW
''START"
SWITCH
fie
PEDAL LIGHT
BLACK
BLACK
"RUN"
&
HEATER
''START"
SWITCH
BLACK-LINE CORD
OR BLUE
2-16
SWITCH
"RUN"
SWITCH-BROWN
STARTING MOTOR BROWN OR GREY
PREAMPLIFIER BLACK OR GREY
SYNCHRONOUS MOTOR
"RUN"
SYNCHRONOUS MOTOR
"RUN" SWITCH
SWITCH
BLACK
Manuals
and Pedals
Fipire
of
2,
The manual chassis assembly, Fig. 1, which includes the upper and
manual made
manuals and the preset panel, has a terminal strip under each
used, to
up of 82 or 91 terminals, depending on the generator being
accommodate the frequencies from the tone generator assembly. Each manual
which operates
has 61 playing keys, 9 preset keys, and 2 adjust keys, each of
points ( See Figure 2).
nine small bronze contact springs with precious metal
When a key is pressed these points make contact with nine busbars extending
contact
length of the manual. The busbars also have precious metal
the entire
surfaces.
The nine contact springs under each key carry the nine harmonics of the
and are
particular note with which they are associated (See Figure 3)
connected by resistance wires to the proper terminals on the termmal
the generator is
strip. Therefore all key contacts are alive whenever
running. See schematic diagram of console in Section 2,
RESISTANCE MIRE
PAUAPnni
ACT
ALLOY
WIfiE
X
KEY CONTACT SPRING
Figure
A CTUATOR
FQK Q NE KEY
I
ITH
Ij
HARVDKEC
tTH HAR^T:^
TOP CONTACT
TOP BUSBAFI
4TH HAAMONIC
4T4 HARMONErn
SPRlJ^C
JPD HARMONlt;
Zp KARi*ON]C
f
SUB
UNDAr^lENTAL
^ftP
HARMONfC
SUB rUNDAME^JlAi
BOTTOM BUSBAR
2-17
When a p!ayinp key is pressed, its nine frequencies are impressed on the
nine busbiirs of the manual. As there are no wires connected to the.se busbars, a pretict or adjusi key mu.st be depressed before any circuit can be
completed. Each preset and adjust key has nine contacts exactly like those
These keys have a locking and trip mechanism which
allows only one key to be in operation at one time. The key at the extreme
end of the manual is a cancel key, with no contacts, which releases any
preset or adjust key that happens to be depressed. (Also see Page 15)
of the playing keys.
left
The adjust keys, A# and B, are connected by flexible wires, color-coded for
easy identification, to the corresponding; nine drawbars. The drawbars slide
over nine busses which arc connected to taps on the matching transformer.
These correspond to different intensities of sound as shown by numbers on
the drawbars.
The two
left groups of drawbars are associated with the upper manual, while
groups work in conjunction with the lower manual. In each case
A^ adjust key controls the lelt hand group of drawbars for that manual.
The drawbar busses and the preset panel bars are connected
primary of the matching transformer.
in
parallel to
taps on the
The selective vibrato feature requires that the preset panel and drawbar
assembly be divided and connected to two matching transformers, each
serving one manual. See schematic diagram in Section 2. The Great, or
lower manual, matching transformer also serves the pedal keyboard.
Continuous-contact drawbars are used in later consoles of this type. They
operate more smoothly and require less accuracy of adjustment than the
earlier type having nine definite positions or steps. Each one has two
contacts connected together by a one ohm resistor, so that at least one qi
the contacts touches some bus at all times and there are no *dead spots^
in the drawbar motion. The resistor avoids short-.circuiting adjacent busbars.
Manual Chassis Assembly - Models B-3, C-3, RT-3, A-100 & D-lOO
The above description also applies to these models, but the start and run
switches are relocated to provide room for four tilting tablets which control
the Percussion feature, described in Secclon lO.All manual chassis assemblies are equipped with continuous contact drawbars.
of the
of
manuals
is to a
same
as in other
If
In
case this procedure is not effective, the busbar shifter for that manual
may be adjusted by turning the stud about two turns in either direction. Tt
may sometimes be necessary to hold down the offending key while turning
the
2-18
busbar shifter,
in
order
to
Model A consoles below serial number 995 are not equipped with busbar
shiiters except in cases where the manual chassis and pedal switch have
been rebuilt. Full information on this rebuilding may be obtained from the
Organ Service Department of the Hammond Organ Company.
Manual Wiring
Models
A,
G,
Figure 4. a wiring chart for the playing manuals, will be helpful in tracing
difficulties associated with the generator or manuals. All playing manuals are
wired alike from drawbar 2 to drawbar 8 inclusive, but the wiring of drawbars
1 and 9 varies.
Column "A" shows the wiring of drawbar 1 for consoles above
serial number 17075; column "B" refers to all consoles having 82 note generators; and column "C" is the wiring used in all earlier consoles. Column
*d" shows wiring of drawbar 9 for Model 'A consoles below serial number
2500 and Model "BC" console below 5076; column *E ' refers to all later
consoles.
in wiring are designed to match the different type of
generators described in the section covering lone generators, and therefore
the various types are not interchangeable.
These variations
Manual Wiring Models B- 2. B-3, C-2. C-3. RT-2, RT-3, A-100 & D-IOO
The key circuit wiring for these models ts the same as for previous consoles
above serial number 17075, and so columns 'a' and 'e' in figure 4 apply.
-
Four colored wires carry the pedal tones from the busbars to the pedal drawIn some models the wires are connected first to a resistor panel on the
back of the manual assembly. A small choke coil and resistor mounted on the
bars.
manual assembly are wired to the lower drawbar (see Figures 8 9, 10, 11) and
to filter out any higher harmonics or transients which might be present
serve
in the
Early consoles used only seven contacts on each pedal (see Figure 6) and were
wired so that any harmonic would appear on only one pedal drawbar (Figures
8 and 9), Later consoles use all eight contacts (Figure 7) and employ a
system for mixing the 16 ft. and 8 ft, tones (Figures 10 and 11). The harmonic
arrangement of the contacts is also different in these later units.
Figure 13 is a wiring chart for the pedals, showing the frequency numbers
appearing on each pedal contact. The variations in wiring make the pedal
switches match the different types of generators described in the section
covering tone generators, and therefore the various types are not interchangeable.
Specific pedal wiring of any console can be determined by obtaining the serial
number and referring to Figures 8 to 11, Included in these sketches are references to Figure 13 wiring chart
ONE PEDAL
TOP CONTACT SPRINGS
8TH HARMONIC
6TH HARMONIC
-iTH
STH HARMONIC
HARMONIC
3RD HARMONIC
2ND HARMONIC
FUNDAMENTAL
NOT CONNECTED
BOTTOM BUSBAR
2-20
Figure 6
5075
lOTH
12THHARMONJC
6TH HARMONIC
8TH HARMONIC
3
ND HARMONIC
4TH HARMONIC
FUNDAMENTAL
3RD HARMONJC
BOTTOM BUSBAR
Figure
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2-21
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MODEL E CONSOLE
Figure
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2-22
3_
Ird
12
r-VWW-03
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LIGHTS
20
tv
SIGNAL
PICKUPS
FOR PEDAL SOLO
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ON BEAR
PED*L
SWITCH
ACTUATOR
PINS
ft
DOWN STOP
f ELT
FIGURE
MODEL
21
The pedal switch (shown in Figure 21) is similar in internal construction to the
manuals (Figure 2Z), Each of the 32 pedals actuates a set of contact springs,
making nine contacts available for each note. Each note consists of a fundamental and a number of harmonics, no sub-harmonics being used. The pedal
contact springs are connected to terminals by resistance wires similar to those
used in the manual assembly, and a cable connects these terminals to the proper terminals on the generator terminal strip. Only seven contacts are used
for the mechanical generator notes, the other two contacts are used by the pedal solo unit as explained later in this book.
Four colored wires carry the pedal tones from the busbars to the pedal drawbars. The wires are connected first to a resistor panel on the back of the manual
assembly. A small choke coil and resistor nnounted on the manual assembly are
wired to the lower drawbar (see Figure 23) and serve to filter out any higher
harmonics or transients which might be present in the lower pedal frequencies.
Figure 24 is a wirmg chart for the pedals, showing the frequency numbers appear
ing on each pedal contact.
2-22A
IK
KEYING
FUNDAMENTAL
2ND, 3RD
HARMONIC
2ND HARMONIC
4TH HARMONIC
6TH HARMONIC
8TH HARMONIC
lOTH HARMONIC
fr*
FIGURE
D-lOO SERIES
22
1ST
LiJ
20 0MM5
OHMS
RESISTOR
FILTER
I
10 OHMS
AA/WWW-i
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PEDAL CIRCUITS
FIGURE
2-22B
23
Pedal
No.
Pedal Keyboard
Pedal keys are set at the factory for average tension^ but are adjustable to fit
the requirements of the individual organist. Adjustment is accomplished by removal of the top cover at the back of the pedal keyboard and setting the tension
as desired,
PEDAL
SWITCH
PUSHERS
MJium.
PEDAL
KEYBOARD
TENSION
ADJUSTING
NUTS
PEDAL
COVER
SINGLE
PUSHER
PEDAL
ADJUSTING
NUTS
FIGURE
2-22D
25
These models have a 32*note pedal switch assembly, and each note has nine
contact springs which touch nine busbars. Colored wires carry the pedal tones
the busbars to the resistor panel and drawbars as shown in Figure 11,
(See paragraph on "Wiring of Pedal Switch' in "Pedal Solo Unit' section of
from
service manual).
From
in the great
and permit
the
harmonics.
Pedal Keyboard
Pedal keys are set at the factory for average tension^ but are adjustable to
Adjustment is accomplished
fit the requirements of the individual organist.
by removal of the top cover at the back of the pedal keyboard and setting the
tension nuts as desired.
SWITCH PUSHER
HINGE SPR
TENSION ADJUSTING NUT
PEDAL KEYBOARD
OS 2043
Figure
14
Preset Panel - Models A, AV, B, BA. BC. BCV, BV, C, CV, D. DV, G,
GV. RT.
The tone signals from the preset keys on both manuals are carried by
color-coded wires to the preset panel in the back of the console.
is a set of nine bars* wired to the taps on the matching
transformer, corresponding to different intensities of sound as shown by
numt>ers stamped on the bars. Each preset wire, carrying a single harmonic,
is fastened under a screw on the bar which represents the desired intensity
of that harmonic. This is equivalent to setting a harmonic drawbar to the
corresponding number.
When
shipped, each organ has its presets set up as shown in the booklet,
"Creating Beautiful Tone Colors with the Harmonic Drawbars," which maybe
obtained free on request. Preset combinations may be changed at will by
removing the console back and following the directions on a card inside. This
card is reproduced below. (Figure 15)
00,
D-IOO&E
In these models the preset panel is divided into two sets of nine bars, each
connected to a separate matching transformer. One set is used for the
swell (upper) manual, and the other for the great (lower) manual and pedals.
The preset panel on Model E is slightly longer than on the other models to
accommodate the two pedal presets.
2-24
Directions for
Tlicrc are 9 color-codtd wuc^s ihrraded through one of the lower holes for t-ath pre-set key. Above each hole an.' 9 biiiclinj; posts arranged
in vertival ordt't. and abtjvc tiic uppermost binding post is j name plate ,spceif>in^ the pre-set key associated with the row of wires below.
lowest hindinir post is that of /ito strength and lorresponds to a }iarmonie contnil pnshed all the way in. 'i'he uppermost bmding
post is of 8 strenplh and corresponds to a hannonic control drawn a
the way out. The bus-bar strii^s for each level are extended to the
left where they arc marked with their appropriate strength numbers.
For example, suppose the comhinatum 006523411 is to be set up on the D# of the
upper manual It will be foiitid helpful, especially wlien setting several combina-
The
tions, to
M.h>ua1
Kiv
Brown
Red
the front edge of each channel of the 9 preset keys and 2 adjust k/tys, two
flat springs are attached, one 5/8" long of rather stiff material, and another
approximately 3/4" long of softer material. The softer long spring is sandwiched on top of the stiff spring, nearest to the key. The cancel key has only
one heavy spring approximately l" long.
On
a preset key is depressed, the longer soft spring is forced downward and
snaps under a tubular rod which is part of the cradle. The cradle is constructed of two lubes approximately 6*^ long and assembled 3/4" apart. One tube
is used as a fulcrum, the entire assembly being mounted perpendicular to the
preset keys, A spring and bumper hold the cradle at a 60^ angle toward the front
of the console.
When
Once a key has been depressed, the soft spring remains under the tube. It is
backed by the short stiff spring to give it sufficient tension to hold the key
down, When the next preset key is depressed, the cradle is forced down and outward, permitting the previously actuated key to come up but again locking the
one last depressed.
two preset keys are depressed at Dnce> both will lock down. The cancel key
with its long stiff spring is then used and forces the cradle down, causing all
preset keys depressed to return to their normal position. As there is no locking spring on the cancel key, it will immediately return to its normal position,
If
A more
It
Replacement
is
the
have to be raised to gain access to the wood screws holding this block. After
removal of this block, the end of the cradle assembly will be visible. Also
visible will be the stop felt and bracket assembly. This is a small angular
bracket with a small piece of felt riveted to it, mounted in a vertical position.
Remove and discard this part.
Install the new assembly so that the felt pad Is above the preset cradle, and
the flat spring is below the cradle, as shown in Figure 16. Clamp it in the
center of the range of adjustment provided by the slot. Check all preset keys
for operation, and adjust the position of the new assembly in case any keys do
The new manual preset cradle return spring should be ordered under part number
AO-21709-0.
Figure 16
2-26
is not
Model E
The tremulant system for Model E organ is the same as that on other models
except that two switches are used. Each switch i5 mounted on one of the two
synchronous nnotors that are a part of the nnain generator and chorus generator
respectively, and each one is connected to one manuaL The switch mounted on
the main generator operates at 400 R.P,M, and is connected to the Great nnanual
The other switch operates at 348 R.P.M. and is connected to the Swell manual.
Two types of tremulant switches have been supplied, namely, the cage type and
the enclosed type. These are mechanically interchangeable, but replacing the
cage type with the enclosed type does require a slight change in the circuit.
In the enclosed type, the condenser shown as C5 in Figure 4 is incorporated
within the metal housing. Therefore! the C5 located in the rheostat box is not
required and the tremulant switch red wire may be attached to ternninal 6,7, or
8.
RHEOSTAT BOX
The rheostat box contains the expression control rheostat and other
components, including some terminals associated with the tremulant system.
Figures to 8 show various models of rheostat boxes and their circuits. The
rheostat box is used only in console nnodels with tremulant and with non1
selective vibrato.
itself is actually a variable resistor with no sliding contacts.
When the expression pedal is advanced a bakelite csltti moves down, opening
in succession a series of 32 contacts^ tipped with precious metal. The contacts
are connected to fixed carbon resistors.
The rheostat
Resistor RZ in figures 2 and 4 forms a constant load on the matching transformer, while R4 and C4 serve to attenuate the higher frequencies. R4 and
C4 were not used in Model A consoles below serial number U3l. The rheoatatj
in series with bass compensating condenser CZ, is across the signal line, so
that when its resistance is least the volume is least. Condenser C5 avoids
excessive tremolo on the lower bass frequencies. It was not originally
installed in Model A consoles below serial number 23U, C3 is a blocking
condenser and R3 is a grid resistor for the first pream^plifier tube.
2-27
MODEL
BELOW
'O
p]
>
H
a
o
O
r
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o
>
3^
REH TREM
CONTROL
RED TREM
SWITCH
PRE-AMP,
RED
MODtL B-BA-BC-C-D-C
FIGURE
MEG. OHM
TREMULANT
CONTROL
-13
-wvx^vw
C5
C3
vV^r
^^^
1
TREM.
sVircH -oogMFD aMFD
Ri
EXPRESSION PEDAL
RHEOSTAT
TO
PRE-AMPLTFIER
MODEL B-BA-BC-C-D^
FIGURE
2-29
MATCH. TRANS.
U, 13 or
15
BLACK
K
EXPRESSION PEDAL
RHEOSTAT
^
PREAMP. SHIELD
MATCH. TRANS.
(pROUND)
SHIELD (GROUND)
FIGURE
MATCHING
TRANSFORMER
INDUCTANCE
COIL
36
CONNECTION FOR
INCREASED OUTPUT
PREAMPLIFIER
INPUT
EXPRESSION
RHEOSTAT I
CONNECTION FOR
REDUCED OUTPUT
FIGURE
2-30
J21_
<&
JTl
_lVi_
Jli.
^^
03
GREAT MANUAL
or
TREM. SWITCH
C.
r.
i PPE-AMP.
Ef
EXPRESSION BHEOSTAT
SWELL MANUAL
t:XPRE5SiON RHEOSTAT
MATOH TRANS
>
TREM. CDNTR. r
BHEO GROUND
RHEO. GROUND
PRE-AMP.
TftEM, CONTR.
2 MATCH. TRANS.
P? "^
TREM SWITCH r
c
FIGURE
SW ELL
TREMULANT
CONTROL
TO PRE-AMPLIFIER
'
TO PPE-AMPLlFItR
-5
\
I
GREAT
TREMULANT
y CONTROL
Ll-J
tjtttAT
ON
rflE^.S*ITCH
|^^M V^
GEN
ClKGUiT OF BHEOSTAT BOX
|(ODEL E CONSOLE
FIGURE
2-31
Hammond Organ
in the
have the selective vibrato feature, with tilting control tablets permitting the
player to place the vibrato effect on either manual or both.
PRINCIPLE OF OPERATION
The vibrato effect is created by a periodic raising and lowering of pitch, and
thus is fundamentally different from a tremolo, or loudness variation. It is
comparable to the effect produced when a violinist moves his finger back and
forth on a string while playing, varying the frequency while maintaining constant
volume.
SECTIONS OF VIBRATO LINE
SIGNAL FHOfct
AMPLIFIER
riRST SECTION
Of PREAMPLIFIER
AMPLiFIE*!
I
Fig,
The Hammond Organ vibrato equipment (see simpiLfied block diagram, Fig. 1
varies the frequency of all tones by continuously shifting their phase. It includes
a phase shift network or electrical time delay line, composed of a number of low
pass filler sections, and a capacity type pickup or scanner, which is motor driven
so that it scans back and forth along the line.
Electrical waves fed into the line are shifted in phase by each line section (the
amount per section being proportional to frequency), so that at any tap on the
line the phase is retarded relative to the previous tap.
the line will thus encounter waves inphase at each successive lap^ and the signal it picks up
The rate at which this phase shift occurs will
sections are scanned each second.
in
line
For
Since the pick-up sweeps from start to end of the line and then back, it increases the frequency by an equal percentage on its return trip, the average
output frequency remaining equal to the input frequency. The exact amount
of frequency shift depends not only on the amount of phase shift in the line but
also on the scanning rate. This rate, however, is constant because the scanner
is driven by the synchronous running motor of the organ.
vibrato chorus effect^ similar to the effect of two or three slightly out-oftune frequencies mixed together, is obtained when the vibrato output signal
is mijced with a portion of signal without vibrato. For vibrato chorus, part of
the incoming signal appears across the vibrato line and the rest across a
resistor in series with the line. As the vibrato effect is applied to the part
of the signal appearing across the line but not to the part appearing across the
resistor, the combination produces a chorus effect. For normal vibrato, this
resistor is short-circuited.
2-32
In ^selective vibrato
manual separately or
to both at once.
to either
CONSTRUCTION OF COMPONENTS
Figures
2 and 3 show different models of the vibrato line box. Each of the
air core inductance coils is connected with one or more condensers to form
one filter section.
The scanner (fig. 5) is mounted on the main generator synchronous motor and
driven at 412 revolutions per minute. It is a muLti-pole variable condenser
with 16 sets of stationary plates and a rotor whose plates mesh with the
stationary ones. In figure 5B two sets of plates have been removed to show
the rotor.
Signals coming from the line through the vibrato switch appear on the stationary
plates and are picked up, one at a time, by the rotor. Connection to the rotor is
made by carbon brushes as shown in figure 5A. Two brushes touch the sides of
the contact pin and a third presses on the end, in order to eliminate the possibility
of contact failure.
'
..Htt
"f^P
hD HtXiiUhL
XLJUtlftt
r\o.2
vjbrato
li*^e
box
FIG 3
ViWato
line
box
ih f
icvre
SCHEMATIC DIAGRAMS
6, 7, 8 and 9 show four different vibrato circuits which have been used
models. As the components of different types are generally not
interchangeable, it is important that model and serial number be furnished when
ordering replacement parts-
Figures
in various
Non-Selective Vibrato
Figure 6^ used in all consoles with V in the model designation, has a 25 section
vibrato line. It is wired (to minimize the number of compensated take-off points)
so that the last part of the line is used for #1 vibrato. The vibrato switch has
positions for three degrees of vibrato (VI, V2 and V3) with three ''off'' positions
between them, and there is a separate vibrato chorus switch. A resistor connected
to the "off" side of the chorus switch serves to maintain constant volume tor the
two switch positions. The switch is not intended to be left in its middle position.
this circuit is actually two separate cascaded
amplifiers on one chassis, with the vibrato system connected between them.
The first section drives the vibrato line, and the second section amplifies
the signal picked up by the scanner. The "vibrato off" contact in the vibrato
switch carries non-vibrato signal directly to the second section of the
preamplifier. The complete schematic circuit of a console of this type is
shown
in
Figure
7 of
section
2,
and preamplifier
in
Figure
6 of
section 11.
2-33
O0T*^uT OF
OUTPUT 0^
FiGURE 6-VlBRATo
_itO
i*
S^STEf/l
Diih
A^0
HT"
C014^0lE_^
FiGuHE
W&ML
C 1
VfcBHATO
^Y^TErvl
2-35
OUTPUT
Of
KW*7
ViBBATO
PH^^
^HlFT
UNE
Ha^MR
iTjofl TO
SERIAL,
btRiA.L hUbA^tR Ji?za TO
#4
MFOa-TbOPv^
VL
^^^OO^ KH^
^tStJ
^,\0\ T0-*fri5-4
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Put u^
ViVtA-TO
^ 1
^1
M(xlelA-100
Model D-100
2-36
^si^
4&0^^
1-1
Wt
THEORY OF OPERATION
The percussion tones are produced by borrowing the 2nd or^ 3rd harmonic signal
from the corresponding drawbar (of the upper manual ''B adjust key' drawbar
it, returning part of it to same. drawbar, and conducting the
balance through push-pull control tubes, which when keyed cause the signal to
away at a pre -deter mined rate.
group), amplifying
fade
2,
(All
Reference
Is
To Figure 24 Section
2)
With percussion tablet "on", upper manual "B adjust key" and an upper manual
playing key pressed, the 2nd or 3rd harmonic signal appearing on an upper
manual busbar is conducted through "B adjust key' drawbar wire to input of
percussion amplifier (terminal H) and amplified by T4 and V5, Besides providing push-pull signal for the control tube V7, the percussion input transformer
T5 has a third winding which feeds the signal back to the 2nd or 3rd harmonic
drawbar through equivalent key circuit resistor R50 and terminal J. Thus the
signal that was borrowed from the 2nd or 3rd harmonic drawbar for the percussion amplifier is replaced.
When
a key is depressed the signal first sounds loudly through the control tube,
transformer T6, a high pass filter, and terminal D to the grid of V4, Immediately condenser C31 in the control tube grid circuit begins to discharge, causing the
signal to fade away. Terminal K (approximately +25 volts) is connected to the
8th harmonic "B adjust key" drawbar wire which is connected to manual busbar.
When an upper manual key is pressed, terminal K is grounded through the tone
generator filters. This virtually grounds the plate of V6 (connected as a diode),
stops conduction, and isolates cathode and control tube grid circuit. The grid
then drifts from approximately +25 volts to about +15 voltSj at a rate determined
by the time required for C31 to discharge through R57 and R58. At the completion of this sequence the percussion signal is blocked. No further percussion
effects occur until all keys of the upper manual are released and control grids
can again rise to ^25 volts. The rate of this rise is fixed by the time required to
charge C31 to +25 volts through R55 and R56,
3.
the upper
(b) It
(c) It
2-37
upper man-
In ''Second^ Position:
(a)
It
(b)
It
(c)
It
In ''Third" Position:
(a)
It
(b)
It
(c)
It
connects the 3rd harmonic signal wire to the percussion amplifier input.
connects the 2nd harmonic signal to the 2nd harmonic drawbar.
connects the signal from terminal J to 3rd harmonic drawbar.
The Percussion Cut-off Control which is located on the amplifier should be readjusted as follows whenever control tube V7 is replaced:
Set expression pedal wide open, both volume tablets "normal
percussion "^on
percussion decay "fast", and harmonic selector
in either position. Depress any key in upper half of upper manual and then adjust cut-off control exactly to the point where
signal becomes inaudible.
,
2-38
REVERBERATION CONTROL
Reverberation control la an important feature of any Hammond Organ installation.
This device is enjoying wide acceptance because it produces reverberation in variable degrees so the Hammond Organ, when installed in an acoustically "dead"
enclosure, sounds very much like an organ played in a large acoustically "live"
church or auditorium where organ music, enhanced by considerable reverberation
sounds at its beat.
Reverberation is the prolongation of sound by repeated reflections or echoes,
and Is measured by the time required for a sound to become inaudible after
the source of sound has been stopped. It is present in sonie degrees in all
enclosures, and music is more pleasing to the ear when accompanied by some
amount of reverberation. This is particularly true of organ music.
,
Reverberation results from the fact that the longer path traveled by reflected
sound causes a delay in hearing the reflected sound waves. This is easily
realized in the case of sharp staccato sounds and a fairly distant reflecting
surface, as the delayed sound is then heard separately frorn the direct sound
and LS recognized as an echo. When music is played In a large room, howeverj
the sound echoes and re-echoes repeatedly until absorbed by the surroundings.
4x3
and about
power amplifier.
is a
ment
Reverberation is applied to the organ inusic after it leaves the console. Part of
the console signal goes directly to the power amplifier and part goes into the
reverberation channel, after suitable amplification.
unit is converted into mechanical
a dynamic speaker without a cone.
coil springs, which have the
property of conducting sound vibrations much more slowly then the speed of sound
in air. In this way a spring of convenient length can introduce a delay
equivalent to that obtained in a large hall.
waves
The driver unit, at the top of figure Z, introduces up-and-down vibrations into
the stirrup directly under it. The two enclosed springs under the stirrup hold
in position but permit it to n:iove freely up and down, and the spring at the far
left balances the pull of the others. These three springs are almost entirely
imniersed in dannping fluid, as they act largely as dampers to stabilize the response of the driver and prevent underaired reflections.
it
sound wave from the stirrup travels down the open spring at the far right to
the crystal pickup, where an electrical signal is produced and conducted to the
power amplifier. This is the "first reflected signal"', delayed about 1/15 second
from the part of the original signal which went directly to the power amplifier.
The same wave from the stirrup also travels down the second spring from the
letj which enters the short damping tube
At the bottom of this spring the
wave is reflected back along the spring, reduced in intensity by the damping
action of the fluid. At the stirrup the horisontal lever transfers the wave to
the right-hand spring, and it goes on to the crystal to produce a "second reflected signal'* about 3/15 second after the direct signal,
Very
'
dannping tube
Here it is reflected in reduced intensity, retraces the same path to the crystal,
and produces a "third reflected signal' about 5/15 second after the direct signal.
The "second reflected signal" is similarly repeated, and this process continues
over and over, giving a series of signals about 2/15 second apart, until the
vibration
is
Just above the short damping tube a "reflecting pin" attached to the spring
causes partial reflection of high frequencies and helps to make the over-all
The damper
felt
A
'
greater amount of fluid in the short tube will cause increased energy loss at
each reflection and thereby reduce the number of audible reflections. Adjusting
the level of fluid in this tube, therefore, changes the reverberation time and
simulates enclosures of different sizes.
2-39
LEVER
UPPER
DRIVING UNIT
VOICE COIL
STIRRUP
LOWER LEVER
CAWPER FELT
1-^-
LOCK PLATE
SPRING
REFLECTI^JG PIN
LOCK PLATE
LOCKINGLEVER
CONNECTOR RrBSON
TO AMPLIFIER
REVERBERATION UNIT
FIG. 2.
FIG.
in The
An exception occurs
2-40
When two or more types of cabinets are used in any installation, it is preierahead of any
able that anv H or K series cabinets be connected to the console
cabinets having type F, type G, or type H amplifiers in order that reverbermay be
ated signals may not enter the bass amplifier channel. Otherwise there
objectionable irregularities in the response of the lower pedal notes.
Further information on the use of reverberation
covering Acoustics.
may
be found
in the section
The short tube should be filled to exactly 3-1/4 inches from the top, using
the special suction bulb supplied. This amount of fluid gives the best reverberation effect for average conditions.
If acoustic conditions are very unusual, or if an organist has a defintte preference for greater or less reverberation, the level in the short lube may be
set higher or lower. Lower fluid level will give longer reverberation time
and higher fluid level will give shorter time. There is a temperature effect
due to change in viscosity of the fluid (lower temperatures will shorten the
reverberation time and higher temperatures will lengthen it) but no adjustment for this effect is necessary unless the temperature is consistently
below 50^ F or above 95^^ F.
The reverberation selector switches are set at "HT' when leaving the
factory, and should be readjusted on installation to give the most desirable
reverberation effect. If th^re is any uncertainty as to the proper adjustment, it is generally preferable to allow too much reverberation rather
than too
little
It is
is
enclosure of almost any size, some frequencies will sound louder in one
portion of the listener area than in another, and conversely some frequencies
will sound weak. This can be effectively demonstrated by playing the organ
in a em.all room with a microphone, then listening to the signal picked up by
the microphone in another room. Variations in loudness will be startling
especially when single frequencies are sounded.
some notes on
it
may
I.
is
connected
to
Z.
If
move
It
"
to "Lo.
Exact recommendation
somewhat
switch
on
as the purpose of the reverberation control is to compensate for lack of
natural reverberation. Adjustment of it therefore should be made in cooperation with the organist, who m.ust understand its intent. In large installations the use of two reverberation units will reduce roorn pattern
to the point
where
it is
adjustment of this
is
difficult
negligible.
2-41
The device
in depthcabinets.
in Spinet
duration. The other two springs operate in a similar fashion, but their
reflections occur at longer time intervals, 1/17 and 1/15 second respectively. The amount of damping for each of the three springs is so proportioned that they have a uniform decay rate.
2-42
OPERATION
IN
The dry type reverberation device mounted in the PR and QR series tone
cabinet functions as follows. Part of the console signal is applied
to the reverberation driver and the resultant reverberated signal at the pickup is
separated into two frequency bands, one occupying the spectrum from thirtytwo to two hundred cycles, and the other from two hundred cycles to six
thousand cycles. The low frequency reverberated signals are mixed with
the direct console signals, amplified and fed to the low frequency speakers.
The high frequency or treble reverberated signals are amplified and fed to
a separate speaker system, while the treble signals from the console
are
also amplified and fed into another speaker system. In other words,
the low
frequency direct and reverberated signals are electrically mixed and the
high frequency direct and reverberated signals are acoustically mixed.
Two selector switches are mounted on the side of the PR and QR series
tone cabinets to provide a variation in the amount of reverberation produced.
The base reverberation switch provides increased direct output as the
amount of reverberated signal is reduced. This is accomplished by introducing
more or less direct signal into the bass channel as the amount of reverberation is decreased or inci:eased. The treble reverberation switch
controls the
gam of the treble reverberation amplifier channel, but if the switch is
turned to the "Reverberation Off" position, the direct console treble signal
IB fed mto this channel to provide full treble
acoustic output from the cabinets.
LEVELING TABS
TWISTED PAIR
'DRIVER" INPUT
*i
PICK UP"
W?IVER
LIM^T
CHANNEL
SHIELDED LEAD
Pw
PICK UP"
OUTPUT
SPRING
"-3
LIMJT
*'
I*
CHANNEL
CLIP
-I
2-43
Warning: Whenever the cabinet is moved, even one or two feet, the reverberation device should be locked. Failure to do this may cause one or more
springs to become unhooked from the driver or pickup assembly.
provide a rever-
unit do
not
cabinets
berated signal to other tone cabinets. If more than one tone cabinet of the
type normally embodying this unit is used and reverberation is desired from
all tone cabinets, then a reverberation unit must be included in each tone
cabinet-
Tone
Kits are available which will permit turning the reverberation on and off
from the console without the use of additional cables. Several different
depending upon the type of console and the instruction
kits are available
sheet accompanying each kit describes the installation and operation. These
kits are designed for use with PR and QR series cabinets only.
,
SERVICE SUGGESTIONS
cabinet equipped with
playing
a tone
this device, but a loud noise results from touching the aprings. it is quite
likely that the lockmg device has not been completely opened. Make sure that
the springs of the unit are free of the clamps, which are located near the
in
in
REVERBERATION
IN
REVERBERATION
IN SELF'
CONTAINED UNITS
Self contained models of the Hammond Organ (A-100. M-lOO, L-lOO) contain
a somewhat similar reverberation unit, except the reverberation springs are
taunt and self contained. The size of this unit is approximately 17" long
2-44
unit,
must be made
at the factory
and no
tone cabinet (or group of cabinets) may be used with any type of
console. The echo cabinet is usually placed at some distance
from the main cabinet: for instance, at the opposite end
of a church. An echo switch mounted on the console enables the organist to play
through the main cabinet alone, the echo cabinet alone^ or both together. Any
standard Hammond tone cabinet may be used.
tommond Organ
from
The echo switch has three positions. When it is set to the left the main
tone cabinet (or cabinets) will sound, and when set to the right the echo cabinet
With the switch in the center both main and echo will sound simultaneously. The switch controls only the signal circuits, and all cabinets remain
energized as long as the console Is turned on.
will sound.
Figures 1 and 2 show how the main and echo tone cabinets are connected
to the console, and figure 3 is a schematic circuit of the echo system.
.AC Li>tf.CQKQ
*cn
C*BI'><f
ECHO
PPEAVPLlFlLD
SWITCH
ECHD TONE
t^filh-El
CD-WLt
TO
ElTHECl i*Bl**T
OB TO
FIGURE
BCt
Note: St*.ps
designation.
to
"B"^
in
the tvpe
^^^
3.
Disconnect and remove swell pedal connecting
rod.
console ^^^
has
chorus generator, it will be necessary to unfasten nr*-^rY,^Hn It ^^J'^'^"^
remove ^mounting channef"^'^'"^ '"' ^'^^^^ ^'^
4.
Remove 4 screws from pedal switch cover panel, remove key
at
top of wiring tube nearest to swell pedal, raise
lube a few inches, and lift
pedal switch cover panel.
Note:
models having C,
D, G, or
in the
Remove key
permit detaching
Unfasten outlet box from base of console, open it, knock out proper receptacle hole blank (see figure 5) and mount echo receptacle. Solder
connections as indicated in figure 5. Pull twisted pair of wires up through
wiring tube. Reassemble outlet box and atUch it to console. Replace
pedal
switch cover if it was raised in step 4
6.
Note:
7.
Replace any other parts previously removed. Fasten echo wiring
panel on top of line panel cover and connect all wires as shown in figure 5.
8.
Check for proper operation. If it should happen that the echo cabinet sounds with the switch in "main" position and the nnain cabinet sounds
with the switch in "echo" position, interchange the main and echo cable wires
at the echo wiring panel,
INSTALLING KIT
IN
MODEL
CONSOLES
In this model the preamplifier is located so far from the line panel
that the blue, green, and black wires from the echo panel must be extended
to reach the preamplifierIn addition, the black and red cable wires must
be extended to reach the echo panel. Otherwise the installation may be made
as described above.
MAIN
tfCtO
ECttD
hJAiN
I
BtAtK
eLH:f^
-WlAV
-<SJ-'
1200
UAJN
RED
ECHO
*200
>
RD
111
CABLE
J=RCiU
FRDU tCKO
PECEPTACLi
\H
OUTLET aOv
GHD,
TO PREiMPLiTIER
FIGURE 3
2-46
KIT
WIRING
*Note:
On consoles with start and run switches in wood end block {B-3,
C-3 and RT-3) increase this dimension to 3 17/32"
-41(066; DRILL
2- HOLES
CTSh to V32"
RI5HT END OF
MUSIC HAC Base
Dri
ECHO SWITCH
OUTLET BOX
When
installing an
of
Hammond Organ
Co.
"one out-
Follow steps
(c)
Mount echo receptacle in outlet box (see figure 5). Cut off 6-condductor cable to proper length to connect it to outlet
box, and mount
6-conductor plug and plug cap on remaining piece of cable.
Figure
6 shows connections to plug and receptacle.
(d)
1, 2, 3
and 4 above.
other models.
2-47
CC
TO AM^
SWITCHCRAFT
SF-JAX -^25 OR 55
GND
500
^VAW^.
5Ci. -^
-'lAiWiA^
1 5 A.
VU
I
9-
TO AMP
Turn over AO-39 chassis and disconnect two black wires from the BN-BK
speaker terminal inside of the amplifier. Leave output transformer lead
connected. Connect the two wires removed, to the center lug of the three
lug terminal strip nearest the front of the chassis and solder connections.
^v-
100
J\
2.7
J\.
r J
IDA.
Oiatpi' t
Timn
DOa
01
5p*f ^*Ta
1^
_J
CcHHtmL
AG-J3 or 10-44
Out pu t Tzm ni E a rvar
10
ISO
10
j-1.
-rt.
tow
|trv*rWr.rLrr>i
2-49
2.
3.
Remove
the
and solder
4.
a solder lug
it
the
BN-BK
the green wire from the GN speaker ternriinal on the AO-39 amplifier and splice on an additional length of wire long enough to reach the earphone jack and switch which will be mounted on the front of the console.
Remove
5.
GN
6.
BN-BK
to
reach
to
8.
Identify the green and black wires on the center speaker that connect to
the AO-35 or AO-44 amplifier. Remove these wires and connect the green
wire to the GN speaker terminal and the black wire to the BN-BK speaker
terminal on the AO-39 amplifier.
Identify the speaker terminals on the reverberation amplifier AO-35 or
If a black wire is soldered to the left speaker terminal on the
amplifier, reverse the speaker leads at the amplifier so that the gray wire
is on the left lug and the black wire is on the right lug of the annplifier
AO-44,
speaker terminals.
9-
Remove
the blue wire that is connected to the speaker directly above the
reverberation amplifier. Splice on an additional length of wire long
enough to reach the earphone jack,
10.
Solder a wire to the empty lug on the speaker long enough to reach the earphone jack,
11.
Solder a wire to the right speaker terminal long enough to reach the earphone jack. (This terminal is grounded inside the AO-35 or AO-44 chassis.)
12.
Mount
13.
all components to the right of the dotted line shown on the diagram
in a suitable box and connect as shown. Numbers shown under wires
identify these leads based on the preceeding steps,
at
PHONO INPUT
A
microphone or record player pickup nnay be used through the organ if desired
The preamplifier is equipped with a standard phonograph input jack. The input
impedance is approximately 1 megohm and the circuit requires a nnaximum input signal of about 1/2 volt. A volume control will have to be installed between
the microphone or record player input and the organ inasmuch as the swell
control of the organ does not affect this input.
2-50
SECTION
III
LIST OF ILLUSTRATIONS
ANO INDEX
PAGE
LIST OF ILLUSTAATION
Mode}*
AND INDEX
A, B. BC, D. fliG
Wmng
3-1
3-2
3-2
..,3-3
3-59
Wirma Diagram
3-60
[Figuri 31)
DR-20.
G,
DX-20
ModeliD-20,F-4O.FR40
3-4
Models DR-2D,ER'20.FR-40
3-5
ModBliH-40,HR-4O
3-6
Wfhng
3-6
DiBflram
Schematic
Models 82 & C2
3-9
&
C-3
MODELS
3-11
3-12
3-66
Schemaiic|FigurB33)
3-6B
3-67
3
18
3-18
3-19
3-13
Modal RT
Wiring Diagram (figure 19)
Schematic
IBV^BCiRT)
3-13
9B)
3-45
3-46
3-*7
PRE-AHPLIFIER SCHEMATICS
Models
Models
20A)
3-47
3-47
IN
TONE CABINHS)
Modal JH-20
3-48
(Figure 22)
Model JR-20
(Figure
22A)
3-49
Model JR'20
(Figure
22B|
3-49
PREAMPLIFIERS SCHEMATICS
B-3, C-3, RT-3 (Figure 24)
Models
3-50
(Figure IB)
SEE PAGE
3-44
8|
TONE CABINETS)
IN
3-10
ModfllE
(USED
SCHEMATIC
3-11
Modal D'lOD
3-43
SCHEMATICS
AMPLIFIEft
3-42
3-42
(Figure 15)
POWER
3-41
(Figure 14)
3-7
3-8
Sehemitic(FlBura21)
flEVERB PREAMPLIFIERS
(Figure 13)
3 8
Models B-3
3-41
Fft'20.
34
Modal C'2G
3-40
(Figure 11}
Modal BV, CV
3-40
3-59
Model A'1 00
PAGE
3-5
(USED
IN
TONE CABINETS)
3-14
3-50
3-14
3-51
3-14
Model RT-2
Schematic
(6-2. C-2.
&
SEE PAGE
(Figure 21
RT-2)
TONE CABINETS
Models PR-40^ DR-40 (Figure 26A|
3-16
Model RT'3
Winng Diagram
(Figure
Bi
25A)
3-16
Schematic
3-12
3-53
Schemetic
RT-3)
3-52
3-64
leler units
3-55
General
3-21
Wirtng Oiagfams
3-22
Model PR-20
3-57
Tumny
3-23
Model PR 2D Schematic
3-58
3-24
POWER AMPLIFIERS
Model RT Schematic
3-25
(USED
3-26
MODEL
&
6)
Tuba Vottages
3-28
Service Suggeitiont
3-29
Removing Pant
3-30
Parts Ust
3-31
4C)
IN
Modat A
3-61
3-62
3 31
(USED
3-32
Model A-100
IN
CONSOLES)
(Figure
3)
3-36
PiByar& G
4 &
5)
Model E
(Figure 8
3-65
3-69
3-69
Trouble Shoottng
3-37
3-75
3-80
Repair
&
Disassembly
of Vibrato
Scanner
3-82
3-38
(Figure 6)
(Figure 7)
3-64
35A)
TROUBLE LOCATION
Soctione^izing Trouble
Model E
3-63
(Figure 34)
(Figure
3-35
C, U,
3-68
REVERBERATION AMPLIFIERS
Schematics
(Figure
3-61
lFigure35)
CONSOLES)
A-1 00
MmJFICATIQN SYSTEM
Pra-AiTipJifiar
3-56
Schematic
3^38
&
9)
3-39
3-1
3-4
a.
1^
Ln
^M
Anarti^sv
tfOiv aiN 30
:iNcu.
I
3-5
1-4C
^1
o
u
_l
z
o
u
z
<
a:
o
a
z
o
<
X
o
Si
<
J
<
Q
z
is
51
LJJ^
3-6
I
I
-.Tui-*js?v
aoivaiNiD 3NOi
3-7
u
c
o
o
O
O
X
L_J
3-8
3-9
3-10
3-n
3Qiva3N:i^
3-12
D
O
o
z
u
z
O
3
O
O
2
O
<
<
:
<
I
or
i
L
3-13
3-14
3-15
3-16
3-17
HhltMomC CO4Tft0*-^rl
SWITCH
^-r,
,
^
^
^1
^4
K^-^^v
tu^CK
tLI.-l
ttO-
iJ^i^-^Nt
Oft.
Ej_
jt
Ok-ftLuL.
-^ttEV
STARTlSkq WOTj3R_
TE-LCW
>;E9-lbt>CK0LUe
TO ii W fcJQTOt
IBLACK
RE.D-
DR.
bv-Jt
ii
[.O
T'UiJ^
-ji^-^li
li
Ixp.;^
iirt^ i^li
\
5C;4ttkj
.5:et
PED*,L SWITCH
YELLOW
Ui*2!r^'
_ .^
i-LUE
tFE
9t
^"^"i;
1,''
H-Jfii:i]i!-llflHHiitlft
ftC L'kiit
iTL.
l^
1^
iii*>i
Be CHOQUb CENEkKTOlt
I
O
r
PRE - ^MPL^lFtE^
EEU
iHPi
I
,
L
R.ED
>
. = J.
AT
o
_
k3
'^-C.LINl
3-18
d3
i
o
2,000 OHhtL
4,000
J
7h5QO
?^
J.OOO
OH his
CUiMS
4^0. 000
<u
IMS
300,000
75,OOD OHMS
-*
00
D.
IS
OH>d
OW,
ii
36 OHUt
i^
LO
la
EC
TEtUUUAHT &W)TCH
3-19
3-20
CV
The
system as used in Model C'2,
The Model RT-3 Console is similar
to
feature.
is
similar lo
Model RT-3
power ampli-
fier
in
Only one pedal solo note will play at a time (if two pedals are depressed at a time,
accompaniment
only the higher one plays) but this does not affect the foundation or
left foot
tone controlled by the two pedal drawbars. It is possible, therefore, for the
same
to play a bass accompaniment note set up on the pedal drawbars, while at the
time the right foot plays a pedal solo note (the accompaniment tone on this higher
note being masked by the high solo quality).
mechanof
because
and
consoles,
these
part
of
designed
as
a
The pedal solo unit is
ical limitations it is not adaptable to any other model.
Pedal solo generators of all types have slightly different electrical
RTA was used in
circuits but are interchangeable in all RT series consoles. Type
Types RTB and RTC were originally
all Model HT and some Model RT-2 consoles.
components - but no
used only in Model RT-2. Types RTD and PTE have improved
change in circuits.
NOTE:
frequency dividers,
of the oscillator is fed into a series of five cascaded
a note an octave
each of which divides its input frequency by two and thus produces
pitches of one.
lower than its input frequency. The five dividers thereby provide
this way, when
two, three, four, and five octaves below the pitch of the oscillator. In
produces a note in exact
the oscillator is tuned to some given note, each divider
having exact
octave relation to the oscillator, thus forming a series of sijt notes
selected for
dividers
or
divider
frequency
particular
The
octave relationships.
depend upon
sounding through the amplifier and speaker system of the organ will
which of the stop tablets are used,
A control contact under each pedal causes the control tube to transmit the signal to
the amplification system with a controlled rate of attack.
The output
The pedal solo generator is a chassis which looks like an amplifier and contains the
master oscillator, five frequency dividers, an amplifier, a control tube, and a power
supply. It is located directly above the pedal switch assembly, near the
the console as viewed at the rear.
left
side of
The tuning coil assembly contains 32 adjustable inductance colls, which tune the
master oscillator to the frequencies of the 32 pedal notes. It is mounted above the
pedal switch assembly, near the right side of the console as viewed at the rear.
The control panel, with eight stop
the right end of the
tablets and a
is
mounted
at
lower manual.
The pedal switch has nine contacts under each pedal key. One is used for tuning the
pedal solo unit, the second serves to key the amplifier and make the pedal solo note
sound, and the other seven carry harmonics from the main (tone wheel) generator lo
the pedal drawbars as in the B and C series consoles-
3-21
WIRING DIAGRAMS
In studying the operation of the pedal solo unit, refer first to the block diagram
(figure 1) and second to the more detailed schematic circuit (figure 2, 2B or 2C}.
The schematic diagram of the console, apart from the pedal solo unit, is the same as
for the Model CV, C-2, or C-3 console, shown in section 2, Actual connections between the pedal solo unit and other parts of the console are shown in the wiring
diagram
in section 2.
The Oscillator
The 32 coils which lune
Frequency Dividers
Each
divider includes three triodes. One acts as a driver and pulse rectifier, supplying sharp and narrow negative pulses to actuate a symmetrical feed-back tripping
circuit comprising two triodes. Either one (but only one) of these two triodes can be
conducting at a time, for by drawing plate current it holds the other in a cut-off
condition.
Suppose, for example, that the first triode is conducting and the second is cut off.
Now a negative input pulse impressed on the grids of both triodes will not affect the
second one, which is already cut off, but will cut off the first. This produces a
positive pulse at the plate of the first triode, which is applied to the grid of the second
triode through its feedback connection. The second triode then suddenly conducts
current, producing a negative pulse at its plate. This negative pulse, applied to
the first triode grid through its feed-back connection^ insures that the first triode
remains cut off. The situation is now exactly reversed, with the first triode cut off
and the second conducting.
The next
input pulse will act on the second triode, cutting it off again and making the
first conductive; and thus two input cycles are required to produce one out-put cycle.
circuit therefore divides its input frequency in half, producing an output signal one octave lower than the preceding divider. One triode plate of
each divider stage furnishes a signal of rectangular wave shape to the following
driver tube, and output signals are taken from the driver and divider plates as indicated in figures 2, 2-8 and 2C.
we see that whenever any one of the three G pedals, for instance,
depressed, the frequency dividers, together with the oscillator, provide a series of
G notes in exact octave relations. The particular divider whose output is to sound
selected by the stop tablets: 2' & l', 4\ S\ 16\ 32' BOMBARDE and 32' BOUFtDON.
the stop tablets act as register controls to shift the pitch range of the pedal solo
If two or more of these controls are turned on simultaneously, a composite tone wjU be heard, consisting of the output of several dividers simultaneously sounding in their octave relations. (A tablet is "on when the
white dot is visible.)
is
six
is
Thus
bass notes
'MUTE*
Pressing the mute tablet shunts a small condenser across the signal circuit to reduce
the intensity of the higher frequencies. This is effective on all the pedal solo slops to
make the tones more mellow.
'
3-22
in
It
may
thus be used as a
Volume Control
The volume knob on
the control panel is used to balance the pedal solo tones with the
rest of the organ. The over-all volume of the entire organ, including the pedal solo
unit, is controlled by the expression pedal.
Control Tube
The push-pull control tube, a double triode. is normally cut of f by a large negative
bias applied to its grid circuit. When any pedal is pressed its control contact grounds
this bias circuit (if the "PEDAL SOLO ON tablet is "on"), thereby removing the bias
and causing the note to sound. A condenser and resistor, C81 and R112, make the tonal
attack smooth. The control tube is connected to an output transformer whose secondary feeds the pedal solo signal through the volume control to the organ preset panel,
where
it
is
combined with
Tuning
All notes of the pedal solo unit are simultaneously tuned by adjusting two tuning knobs
located on the pedal solo generator. These change the frequency of the master oscillator by shunting small additional capacitors across the main tuning condenser.
To
(a)
be off,
Pull out only the first white drawbar for either manual and press the corresponding preset key. Hold down the D# key above the middle C with the drawbar and
the volume control knob set to give approximately equal volume.
Set the "fine tuning' knob on the pedal solo generator to its center position and
adjust the "rough tuning' knob to the point which brings the two notes most nearly in tune (slowest beat between them). Then adjust the "fine tuning knob to make
the beat as slow as possible. While it is generally not possible to tune exactly to
zero beat, the accuracy of tuning provided will be found to be sufficient.
(d) The organist may prefer to have the pedal solo generator tuned slightly sharp to
increase the "chorus effect' between it and the main tone generator. To tune it
sharp, lurn the "fine tuning" switch counterclockwise one step.
Ijotei Never tune on the lower pitch registers (especially the 32-foot range) where
the pitch acuity of the ear is insufficient for accurate tuning. If the 4-foot stop is
tuned as directed above, all other registers will be in tune because they are locked
by the frequency dividers to exact octave intervals.
(b)
(c)
Wiring
of
Pedal Switch
of each pedal key make contact with nine busbars extending the
length of the pedal switch assembly. One set of contacts and the corresponding busbar,
used for tuning the pedal solo unit, are wired to a terminal panel on top of the pedal
switch, where the tuning coil cable connects. The other eight sets of contacts are
wired to the main tone generator as indicated in the pedal wiring chart in the section
on manuals and pedals, although only seven sets are actually used to carry tones from
the main generator to the pedal drawbars.
The contacts
affect their use for this purpose, since the keying circuit Impedance Is high by comparison. The busbar for these contacts is wired to a terminal on top of the pedal
switch to which the white keying wire from the pedal solo control panel connects.
These contacts are wired to the main tone generator in the usual way in order that
they mdy supply the I2th harmonic in case special circumstances make it desirable
to omit the pedal solo unit. In this case a green wire from the pedal resistor panel
on the manual assembly (It will be found wrapped around the pedal switch cable) is
connected to the busbar terminal on top of the pedal switch (see wiring diagram in
section 2). The pedal tones will then be identical to those on the B and C series organs.
3-23
ADJUST HtTS
Dff Aip^JBAR5
UPPER
MATCH
Playing kCvS
EXPRESSION
I
Ul^
CO*^TftO^
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PRESET KETL
LOWER
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MODELS
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20"
Ground
(neg. to "-37
Tube VI (term-
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Tube V3 (term.
#2)
Tube V3 (term.
#5),
#3).
V8 (term-
#2
V6 (term& #5)
#3)
#5)
Any trouble
in the
organ ahead of the matching transformer will not affect the pedal
solo unit, but trouble following the transformer will affect both systems equally.
Pedal solo unit does not play. First make sure that the tubes are lighted, all conIrols are in playing position, and the rest of the organ plays normally. Several
possible causes of trouble are listed below in order of probability,
(a) Tubes. The tubes are all standard radio types and can be tested in the usual
way. Figure 3 shows their locations in the pedal solo generator.
(b) Loose cable connector. See that the ISPole plug and the shielded plug are
inserted tighUy into the pedal solo generator.
(c) Keying circuit. A dirty contact in the "PEDAL SOLO ON' tablet or a defective
connection in any part of the keying circuit will prevent removal of the cut-off
bias when a key is played. If this is the trouble, grounding pin 15 of the cable
plug will make a pedal note sound. The following section, "Procedure for
Removing Parts", tells how to reach and clean the tablet contacts.
(d) Amplifier or oscillator circuit. The amplifier circuit is conventional in most
respects, and voUas^e measurements will generally serve to identify any
trouble. Failure of the master oscillator will make the pedal solo unit fail to
Figures 4, 4A, 4B
play, and voltage readings will be helpful in this case also.
show the locations of all components, and a chart at the end of this section gives
their characteristics.
DU"VFF*^
HE! TIFIEB
D.JiOER
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Pedal solo note does not sound on one pedal (with any combination of control
The control contact of that pedal is probably dirty and can be cleared by
and
adjusting the pedal busbar shifter as described in the section on manuals
crackling of a
pedals. The same trouble may appear as an irregular sputtering or
tablets).
pedal-toThis effect may also result from an open circuit in the pedal wiring, the
main-generator cable, or the main generator wiring, since the control circuit is
completed through the main generator.
A ll pedals jail to play on one stop tablet If all other tablets play correctly, the
signal from the oscillator or one frequency divider is not reaching the amplifier.
This may be due to a loose cable plug, a broken wire, or a dirty contact on the
Removing
tablet. In the latter case, refer to the following section, "Procedure for
and freParts'", The schematic diagram, figure 2, indicates which cable wire
.
quency divider correspond to each tablet. Figure 5 identifies the tablets and
electrical components in the control panel.
pitched
All pedals play the wronR pitch (or do not play at all) on one or more low
which case all
stop tablets. One frequency divider is not operating correctly, in
dividers below
to the plate of
of
pttlse.
may
If
electrolytic capacitor
operate.
C78
is
dividers
fail to
3-29
Key thumps or
clicks
time a pedal
played.
15
If
capacitor
thump each
of
one of the
Tuning of individual notes. The individual note tuning system consists of 32 small
inductance coils, each of which is adjustable by moving the coil on its iron core.
This tuning system is very stable because it has practically no aging effect and is
very insensitive to ordinary humidity and temperature changes. However, after long
use under adverse climatic conditions it is possible that some pedal solo notes may
not be exactly in tune with each olher.
first with the tuning knobs as indicated above. Keep in mind the fact
it is generally desirable to have the pedal solo unit slightly out-of-tune with the
If you are sure some notes actually require tuning, proceed as follows:
Disconnect the two cable leads from the G-G terminals on the preamplifier and
ground the two wires. Connect one set of oscilloscope plates (either horizontal
or vertical) to one G terminal and ground.
(b) Connect the other set of oscilloscope plates to ground and to pin 3 of V6 through
a blocking condenser.
(c) Remove the cover of the tuning coil box at the rear of the console, exposing the
numbered tuning coils. The wiring diagram shows the location of these coils.
Set the fine and rough tuning knobs to their center positions.
(d) Push in the pedal drawbars, turn the vibrato off. and turn all pedal solo tablets
off. Using only the first white drawbar on either manual, hold down the second key
G key from the top. Hold down the highest pedal,
(e) Loosen the clamping screw on coil 32 and slide the coil carefully forward or backward until the note is in tune as indicated by the oscilloscope wave pattern standing still or moving no more than one cycle in two seconds. Tighten the clamping
screw.
(f)
Release key and pedal and press adjacent F # key and pedal. Adjust coil 31 in
same way. Repeat for all other pedals and coils in chromatic order downward.
It is important to start with the highest pedal and progress downward one pedal at
a time because the tuning of the lower notes is dependent upon all of the higher
coils. Each pedal adds an increment of inductance in series with all coils above
it^ and adjusting any single note will detune all those below it.
Note: From the above you can see that tuning the individual notes is a long and tedious
process and must be done with extreme care. It should not be undertaken unless you
are absolutely certain that the tuning error is great enough to interfere seriously with
Always tune
that
organ.
(a)
5.
6.
7.
8.
Remove
9.
10.
n.
12,
tilt
four
assembly
with a cloth.
3-30
up.
to chassis of control
paneL
REFERENCE SYMBOL
F1&URL4B-LJNDERSJDE OF PtOAL
o)
II
^LO
EAHLV JNLT^
Of=
ThF.sE
VPfS HAD
HD_
La
PEDAL SOlO on
SS'BCJRDON
ItO
MUTE
32'&0N^BAR0E
itQ
MD^
QiEMi
T3 BLUE
WHITE TC PLDAL
Switch op -us
9 ORtU
WHITE ^15 OR
PEDAL SWITCH
BLU
c^/;
^/
rK^;-
T2 GREEN*
*146REY
I3V\0LET
7
*2 RED
GREEN
r-
BROWN
T3_
RED
3
ORANGE
T3
O- BLACK
?w
V^irrr^
.-RsrV'
a-'
f
:^^
4'
s'
le'
YELLOW
r)
2^t'
ACK TO
05 5AR
-3:a3
GREY
WHITE
EEN TO
BUS BAR
VIEW OF
CABLE SIDE
OF Plug
WHUE
VIOLET
TO
PEDAL SWITCH
FIGURE
SCHEMATIC, FIGURE 2
3-33
3-34
AMPLIFICATION
THE AMPLIFICATION SYSTEM
the tones of the Hammond Organ are
given their original amplification by a preamplifier located in the console, and
are then transmitted to the power amplifiers which are located in the tone cabinets. It will be noted that no power transformer is included in the preamplifiers
shown in figures 1 throiigh 9, the required plate current being supplied by the
Later models of preamplifiers have
power amplifier In the first tone cabinet
a complete power supply incorporated within them.
will be found under the cap marked "HI IMP INPUT/ Selective vibrato consoles
have the tone control located midway on the preamplifier chassis.
of
megohm impedance
maximumMost preamplifiers used on selective vibrato type consoles are equipped with a
standard phonograph input jack. The input Impedance Is approximately 1 megohm
and the circuit requires a maximum input signal of about 1/2 volt>
The push-pull signal line from the preamplifier output transformer to the tone
cabinets has a total impedance of approximately 200 ohms. As it is connected
directly to the grids of the power amplifier Input tubes, practically any number
power amplifiers may be connected in parallel.
of
of
connecting amplifiers to
the console.
mumber
of the
When making
u^-f-
s-
r
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a tz
TONE
CONTROL
T
T
MODEL. A CONSOLE
SERIAL NO. 1574 TO M^l [NCL.
USED
ON"
-PRE -AMPLIFIERFIGURE i
FiUmcnl
transftirmr r
Output Iranslormer
(Primary 1300 ohms)
(SffCDndarv ISohina)
(DC Refci&lancp)
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F]l*rntnt tiansformer
Output Irfinsformer
(Primary 130O Qhn^s
Secondary 1^ atuni
Il5
v bD cy
AO
AO
17830^1
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RU TONE CONTROL
PRE -AMPLIFIER
FIGURE
3-36
- 115
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v 60 cy AO 17S10-1
^q
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Z[>?q3-2i
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5
R n
PRE AMPLlt^lER
FIGURE
3-38
NO.
ViBA^TQ ^HE
OUTPUT
HEATEfl
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ne^iSTORs
FIGURE 6
Filamrfit transfoTmtr
Outpul Ir^ntlarrner
DUAL CONTROL
AO
MEG_
17811-1
AO
lb^3l"0
hiO-
6J5-0
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at
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6
11^ V, A,C.
6
fl
+
T
T
CONSOLE
SERIAL NUMBER h-i7J TO &'ocl INCL.
USED
IN ^tODH:L E
Oiilpui
Trarsfonner
AG
FiUmrnt Transformer AO
IL
Duiil Conlro]
.1
MEG, AO
17S^6-Q
ITSJl-l
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PRE J^MPLIFIER
FEGUPF
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6
115 T, A,C.
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FiUnienl Iranstorm^r
.1
PRE >Mi^LiriER
FIGURE 9
MEG,
DjsI Control
AO
AO
AO
18726-0
17831-1
16533-0
3-39
FROM
VOICE
:OTLS
PREAMPLIFIER
VvVvVv
50,000
USED
IN
POWER CABINETS
TO 999 INCL.
A-iD SERIAL
A-?0
L
Filler choke
40
ohms
AG
AO
16682-1
16663 -Q
AO
166S1-1
1.
Power Ir-insformet
i-
Output tran^loriner
Cflbinffts
TO
^9<*
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fr
B-40 cHbinets SERIAL NO. 1-1711
have condenser CI
A mfd and
rpsiiior R4 .1 MEG.
A-40
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(SEcondary 1/I0 ohm)
(Primary
POWER. AMPLIFIER
FIGURE
USED
T
T
Powpr iraoaformet
Outpji cranGEormpr
(Prim, no ohms} _
(>r-Ci
>l
ohm*
AO l6t"'M
AO
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AO
AO
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[
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ALL
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TYPE
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INPUT
WATTAGE
220
Equipped with two 15" speakers for bass tones and two
IZ" speakers for the treble tones. They provide three
dimension amplification which creates a beautiful reverberation effect in Stereo, These cabineta feature the
new and improved Hammond Reverberation control for
both baiis and treble tones. Convenient outside controls
make it easy to change the degree of reverberation lor
each.
DIMENSIONS:
31-1/2" Wide
WEIGHT:
130 Lbs.
PR
40
37-1/2" High
18"
Deep
The QR-40
FRONT
is
utility type
its
is
normally mounted
PR
REAR
40
in the
DIMENSIONS:
31" Wide
WEIGHT:
Ul
17-1/4" Deep
36-5/8" High
Lbs,
QR
QR
40
FRONT
CAUTTOM
PACKING FOR MOVING
OR SHIPMENT
The RcvcrbcTiUon Unit must be
locked
before moving cabinet or unit; otherwise.
dcUcatc pjfiB will be damjge<i because of
bouncLUg ol Ehc three coil springs when
hanging free. To lock ihc Reverberation
Unit, inserl screwdriver in lot it end of
lock rod "A" shown in Fig. I and lum y*
turn counterclockwise If cabinet has rear
grille, an opening is provided in grille
cEoth to allow acce^ to lock rod.
INSTALLATION
Cabinet must be level and must not rockFloor musi be farm to avoid vibration.
Fig.
u ahown
1.
REVERBERATION SWITCHES
of isolating trans-
Th tuck of
hum^ make
certairk that
no
piece of elec^
6eld
an
IS
electric
dock or a
on
ftuortficcm laghi
Always
NOTE"
T^e
cabinet
produce
hum
tn
if
tion
and
serial
When
cai^
bA^l fit^CRaefiATiON
the
be obtained
ei>ITflOL
HOI
mo ikd
[iiust
be pro-
(35o
V^ju
ROOM
SIZE
SWITCH
oo
?U4CS
n
It
r>cit
2000
cu,
it-
at
cDuntfrdciCMwiBc
counrprcEockwiA^
ft-
4AJI
WtAetPlATION
lOBA^a VI>ACI^
VCAHtR
[KU
ncD
F'FUu COt^SOLf
FIGURE
it-
It.
LOCK
ALACK
>-
ttii
MODEL PR-20
volum; of room
over 200Q cu.
hJ
P0!1DN OF SWITCH
folly
hj
MODEL PR-40
Dtf*r 16,000 cu. fl.
BtlOato E6.000CU.
VJ4U
TO TREBLE [>:C
volume for beat tonal balance. Approximate scttinj^s tttt nxims with average fur.is folio wn-
VOIUMF OF ROOM
HMawW04*>M
4000
2000
DepartmciU on use
covers the
plate,
alfio
on the
mshing^i will be
vided
REAR
The
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TONE rARTNET
P-40, Q-40
40 Wstt Output
INPUT WATTAGE
Eqtiipped with a two channel amplifierj two 1^" speakers and two iZ'* speakers serving the bass and treble
channels respectively. This lone cabinet in conjunction
with a Haminond tone cabinet with reverberation can
add the additional power required for larger inatallaiii>rx at a minitnum cost. Can also be used alone where
sufficient natural reverberation is evident.
FRONT
P4U
DIMENSIONS:
31-1/Z'' Wide
WEIGHT
lib
18'^
Deep
LBS
P-lt
The Q40
REAR
type
chambers
The treble speakers are nornrially mounted in the top.
unusual Installation where the ceiling is very low. or
cabinets are stocked or radiation is otherwise restricted, it is possible to move these speakers to the holes
provided in the front. The metal diffusers in front of
the speakers must^ also be moved and the wooden
covers musr be attached under the top to close the
in
holes.
DIJ^ENSIONS:
Jl" Wide
WEIGHT:
no
LBS-
Q4U
Q40 FRONT
REAR
IMPORTANT
When
cabinet
is
to be shipped, or
moved
damage
Never remove tubes from their wckrta
without first tUTTimg otf power at console.
INSTALLATION
Sei
1,
at
amphhei
The
ates
n"
amplifier
is
>mch
carded.
2.
Connect
console to cabinet
aliown in Figure
M-'lel
40
IS
treble
in
ipeaJters are
the lop
.ahli"
as
imendcJ
The iwo
normally mounted
In im unusual inEtjllaiinn
IJ/2
The
room
the
Con
piece
speakers respond
rjnly
to
fre1
2"
nca
rornEBL* ^hPiAhfni
BLACK
TO
on
switi^h
HAW
amplifier
^"obooooo
oooo
is
(If cabinet
her^
these
JTStcnmn
is
B*5S COaitCTtflU
SjV^TCri
figures
room
4,tXW) to S,O0O
i^y^ti fMlVrCH!:
C*eiU FflDMCDMSOLt.
VOLUME OF ROOM
Over
fiob
ff
5Pl*^(5
jFIEEH
BASS CORRECTION
''Bass CorrccCion"
rV<^ WJ 40 AUFViFllf)
above 200
cycles.
are stacked,
move
the
if
In case of
least
mendations
console
dowu
held
4 additiondl screws at mrners,
these screws anJ * tapped plates under
neaih shelf aboulJ be removed ind dis-
where
on moununE
Fjg
h'*it\
lop holes
floats frecfy
fieal
TREBLE
up
Loosen nut
until
then be used to
SWITCH
rtCURE
PO^mON
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feet
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INPUT WATTAGE
18^
Equipped with tvuo IB" Speakt^rs for bass tones and two
IZ" speakers for tht treble tones. They provide three
dimension amphficalion which creates a beautiful reverberation effi^ct in Stereo. These cabinets feature Ihe
new and improved Hammond Reverberation control for
both bass and treble tones. Convenient outside controls
make it easy to change the degree of reverberation for
each.
PR
DIMENSIONS:
il-1/2" Wide
WEIGHT:
118 Lbs-
37-1/2'' High
18"
Deep
FRONT
20
PR
REAR
20
CAUTION
PACKING FOR MOVrNG
OR SHIPMENT
The Reverhtranon Unit must be
beiorc mrjving c^bmcl
[ixked
unit; otherwise,
tir
[urn cGunierizIturttfJiEc
grille,
an opening
i5
It
proMJtd
in
snilc
Ri-vi'fheriilion
screwdriver
*hown
in Ffg
wise su thaJ
slot Jt
I
slot
IS
vertical
dolh Id
StWttVf
is
If
lueabinel
m,irked
"ADDITIONAL POWER
PLIFIERS"
tn Fig.
AM
cover* ihe
The
cabinet
some
REVERBERATION SWITCHES
mugnetie
produce A
hum
in
m^
only
beciuf^ the
amphtier may
rhe consule circuits if
hom
field
cnjistile^
hiIj^o
ihe
hum,
strong magnctjc
-i
coii^oie; for
a
example,
on
fluorescent light
NOTE ^Always
lion
and
serial
be obtained
The
When
B>^^ REvCnSCAATriUh
=J
direi:i
5ign>il
frnm the
^1
rrncQbWT
ft*5i
TWO
^r^ERfi
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-IfttBl
tit
r*M?
a5oo 5
ROOM
rodin
SIZE
SWITCH
f>
QHTPICL awiTtfl
z
swiLch lucAtcJ an
ni Iig. I, a provided
of the bass
^ur vanalions m
used in a ^mjll roitm, %l
adjusted lo reduce the bj5*
siiie
Cuturi/J
amphhcr, "D"
the
with
volume
slot
to
ahuuld
be
volume
lor
mate
for ;idjustmenl
oo
cimipciisale
When
room sue
b.'!ii
settin^^i lur
loniil
h.il.iiice
Apprmi
V o
MODEL PR<40
VOLUME OF ROOM
uvcr Ih.nnOcu
ft.
POSIimN Of
-1 3
d n ^
EVLfl
-M-R
TO mta.t Dime t
YI^
fur-
omsole
aIs^^
The back
on thf
The
in [his jnit
20U
in i^nlle
tig
The
Lytles
12^
cabinet h.is
provided
iij
by inserting
llnJi
iht:
AND PR-40
consnk
INSTALLATION
Unliick
PR- 20
THRIE CHANNELS
The
V
S '
I 3 1= 5 "
iS
'CHBEHTCH
TO BA^S Vl'Af 1^
AMt^frCJl^
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hl^eu.
HCC
FHOU tOhMXC
riCURE
iho-a^rA^j-o
MODEL PR-20
VOLUME OF ROOM
ovrr 2U<KI LU
h.
PO&ITIOM OF SWITCH
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3-67
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3-68
TROUBLE LOCATION
3-1-
TROUBLESHOOTING-
3-2.
GENERAL. When
shown
stage (as
all
troubleshooting, use
in
making
J^
T r
ttRtU^SlOM
KLECfQH
ACMyV
Kitir
PREWlt
fciTi
It
ptftcu^srfw
(cat tablet
TAfiLtT
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Make
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ftE^^ hCv
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COMTIIDl.
VJBHATn
J no^
u:>mncr
C-3 Console
with
VCK UMt
TAfil.E.T
PR-40 Tone
.^ I
Cabinet
^^!22i
3-5.
3-3.
is
3^.
value.
the trouble
SUREMENTS- Make voltage and resistance measurements on the individual components of the
silver indicating
3-69
A"^Hr^"Js^Y
3-70
aCivti3 43^
Sf^Oi.
Nivw
View of Console
3-71
Figure 1-5.
3-72
Tone Generator
GUIDE
LOCKING AND
STOP
TRIP ASSEMBLY
PLAYING
KEYS
Figure 1-6. Manual Chassis Partially Disassembled
Figure
I 7.
Preamplifier
3-73
3-74
resistors differing
ABLE
II
by
as
much
as
30 percent from
TABLE
III
TABLE
III
'
TABLE
111
TRANSFORMERS
FILTER TPAHSFDR>^eR6
ST*RTlt4<i
MOTOR END
MOTOR END
AS 7B
O.
^ a
4T
71
JOC JJOOSUg Q
'J
J3
^9
AS
30
30
tj 4
O ? ! J 3
Zfl
3
*::
7t
I-
a si za m i^ 7$ i^ ji i? &a a y.?.** _
aa SI
s? 3a n so ^a tt h h ^>. 73 tt * a w s
t*
i.
is
no
magnet
even with the coil disconis defective or the associturning. Check the pickup
lead and, with a short
the lead to the prei^et
o
o
Pi
Tone Generator
compartment
differ in frequency
5-6,)
0_i^..
NJLJMBE-RS
together,
tone wheel
is
probably
jammed
against the
tion,
a.
adjusted, then
@ ^
\@
'\@ '\
\@ \@ \@ \@ \@ \
\ @\ @\ @\@'\'\\ \ \ @\ \ \ Q
>^
,K^
.^
'\@
(V)0 @
BACK VIEW OF MAIN GENERATOR
3-79
=:
o
H
O
Do
not twist
it,
b. Strike the
should
now
d- Do not remove main tone generator assembly from the console unless absolutely necessary.
Should this be necessary, proceed as directed in
paragraphs 5-63 to 5-71 inclusive.
3-27.
TROUBLESHOOTING CHART,
3-28.
position.
SYMPTOM
L No
Signal
contains general information to aid in the locaWhen the trouble stage is sectionalized, refer to Section V for detailed aid in
tion of trouble.
power amplifier
and compare the reading with the console preamplifier output reading on the output meter.
Tliese should be ideniical. If no output reading
is obtained, conduct a point-to-point voltage
test on the defective unit.
Check the power amplifier output. If no output
reading is obtained, conduct a point-to-point
voltage test-
2.
Low
supply.
point-to-point voltage test and check
for defective
3,
components.
Dust or accumulation of
inclusive.)
3-80
4,
Poor Quality
Check
Make
all
vacuum
tubes.
paragraph 3-4.)
Qieck individual components for defects, especaudio bypass capacitors and frequency
ially
filters.
coils are
not rubbing
5,
Excessive
Hum
Check
all
Remove
vacuum
all
circuits.
to
two
6.
Voice
Defective
system assembly.
Adjust the bus bar shifters. (Reference paragraphs 4-9 to 4-13 inclusive.)
7-
Miscellaneous
Howl, or unwanted sustaining of tone
a.
lever. (Refer-
c.
Preset keys
fail
to release properly
at
end
of bass pedals.
Replace leaf bracket and associated leaf spring;
replace key if necessary. (Reference paragraphs
5-73 to 5-75 inclusive and see figure 1-6.)
3-81
REPAIR
PARTS LIST
Syn. Motor & Scanner
B
064-016844
Oil Felt
D
012-002996
Screws (3)
Screws (2)
Brush Lug
Insulator Assembly
066-016821
Brush Assembly
066-016958
Screws (2)
846-040314
Screw
&
(1)
(4)
Cable Clip
066-016829
Rotor Assembly
066-016828
Screws (16)
816-080720
Insulators (16)
036-016747
Insulators (16)
045-021942
999-002032
Screws (4)
Gear
&
Shaft Assembly
3-83
Q)
(2)
DETACH MOTOR AND SCANNER ASSEMBLY (A) FROM THE GENERATOR ASSEMBLY BY REMOVING FOUR (4)
NUTS FROM THE SYNCHRONOUS MOTOR WHICH ANCHORS THE MOTOR TO THE L" BRACKETS OF THE
GENERATOR ASSEMBLY,
REMOVE THE CABLE CONNECTIONS
IN
ORGAN,
(3)
LOCATE OIL CUP (B) AND OIL FELT (C) INSIDE CUP,
THE OIL FELT MUST BE REMOVED AND THE
COTTON THREADS UNWRAPPED FROM THE FELT BEFORE SEPARATING THE SCANNER AND MOTOR,
REMOVE
(DO THIS VERY
FELT RETAINER SPRING CD) AND LIFT UP ON THE FELT TO REMOVE THE THREADS,
CAREFULLY TO AVOID BREAKING THE COTTON THREADS!.
AFTER REMOVING THE THREADS FROM THE OIL FELT TAKE A PICK OR A PAPER CLIP AND REMOVE
THE THREE THREADS FROM THE ONE SIDE OF THE OIL CUP BY PULLING THEM THROUGH THE HOLE IN
THE CUP.
THE THREAD FROM THE OTHER SIDE OF THE CUP NEED NOT BE REMOVED.
(5)
LOCATE SCREWS (E) WHICH HOLD THE MOTOR AND SCANNER ASSEMBLY TOGETHER.
REMOVE THE SCREWS
AND PULL THE MOTOR AND SCANNER ASSEMBLY APART.
NOTE:
THERE IS A GEAR ON THE END OF THE
MOTOR SHAFT AND MUST BE GUIDED THROUGH THE HOLE OF THE SCANNER HOUSING TO SEPARATE THE
MOTOR AND SCANNER.
(6)
REMOVE TWO SCREWS (F) FROM THE REAR COVER (G) OF THE SCANNER.
BEFORE REMOVING THE COVER
NOTE THAT THERE IS A SHIELDED WIRE ATTACHED TO THE COVER.
THIS WIRE IS CONNECTED INSIDE
THE SCANNER AND THERE IS VERY LITTLE SLACK IN THE WIRE.
REMOVE THE COVER AND TIP IT BACK
CAREFULLY SO YOU CAN SEE INSIDE.
LOCATE THE CARBON BRUSH AUDIO PICK-UP ASSEMBLY (J),
THE CARBON BRUSHES MUST BE REMOVED BEFORE THE MAIN HOUSING ASSEMBLY COVER (M) IS REMOVED,
IN ORDER TO PREVENT DAMAGE TO THE CARBON BRUSHES AND TENSION SPRINGS.
LIFT END BRUSH U)
AND SLIP THE TWO CARBON BRUSHES (H) OFF THE ROTOR CONTACT PIN. <BE EXTREMELY CAREFUL OF THE
ROTOR CONTACT PIN DURING DISASSEMBLY 50 YOU DO NOT BEND OR BREAK THE PIN).
3-84
REMOVE THE FOUR (4) SCREWS (n) AND SLIP THE HOUSING COVER (h) OFF THE MAIN ASSEMBLY.
MARK THE HOUSING COVER CM) AND THE MAIN ASSEMBLY CHASSIS (U) TO INDICATE THE STARTNOTE;
ING POINT OF THE SCANNER CABLE, ALSO MARK THE LOCATION OF THE CABLE CLIP (0).
(8)
REMOVE
STATIONARY PLATES (P) AND ROTOR (Q) ARE MOUNTED ON THE MAIN ASSEMBLY CHASSIS (U).
WHEN REMOVING THE STATIONTWO (2) OF THE STATIONARY PLATES (P). BY REMOVING SCREWS (R).
ARY PLATES FROM THE ASSEMBLY YOU WILL NOTICE THAT THERE ARE INSULATOR (S) AND (T) ON BOTH
SIDES OF THE MAIN ASSEMBLY CHASSIS, INSULATING THE STATIONARY PLATES FROM THE ASSEMBLY (U).
THEN REMOVE THE ROTOR ASSEMBLY (Q) BY LOOSENING THE TWO (2) BRISTOL TYPE SET SCREWS (V),
TO AVOID DAMAGING THE ROTOR CONTACT PIN DURING DISASSEMBLY.
(9)
(10)
CLEAN THE STATIONARY PLATES, ROTOR PLATES AND OTHER METAL PARTS USING A FREON SPRAY OR
AN ABSORBENT CLOTH
OTHER CLEANING SOLVENTS THAT DO NOT LEAVE ANY RESIDUE AFTER DRYING.
OR SWAB CAN BE USED IN CONJUNCTION WITH THE CLEANER.
CAUTION:
(cLEAR)
(11)
(12)
IN MOST SCANNER REPAIR YOU NEED NOT GO FURTHER IN DISASSEMBLY THAN STEP NUMBER ELEVEN (11)
BUT SHOULD CONDITIONS WARRANT FURTHER DISASSEMBLY CONTINUE WITH NUMBER (i3)/ OTHERWISE
INSTALL NEW INSULATORS AND REASSEMBLE THE SCANNER.
(13)
IN REMOVING THE GEAR HOUSING ASSEMBLY (W) THERE ARE FOUR (4) SCREWS (X) HOLDING THE
UPON REMOVING THE GEAR HOUSING ASSEMBLY
ASSEMBLY ON TO THE MAIN ASSEMBLY CHASSIS <U).
THE SPRINGS ON EITHER SIDE
YOU WILL NOTICE THE BAKELITE GEAR AND SHAFT ASSEMBLY (Y)
OF THE BAKELITE GEAR ALSO INTERMESHES WITH THE METAL GEAR OF THE SYNCHRONOUS MOTOR TO
DRIVE THE SCANNER.
(14)
3-85
3-86
SECTION
IV
NOTE- THE FOLLOWING INFORMATION PERTAIN SPECIFICALLY TO THE MODELS B-3 & C-3.
HOWEVER, DUE TO THE SIMILARITY OF THE CONSOLE MODELS IN THIS MANUAL, MUCH
OF THE INFORMATION WILL APPLY TO THEM ASLO,
ALIGNMENT PROCEDURES
4-r PRESET
4-2.
The
preset keys
shown
Brown
Red
Grange
Yellow
Green
Sub-fundamental
Sub-3rd harmonic
Fundamental
2nd hannonic
3rd harmonic
4th harmonic
5th harmonic
6th harmonic
8th harmonic
4-3. The tone color or quality of any note,
played on either the upper or lower manual, is
determined by the intensity of the harmonics
in relation to the fundamental note as selected
either by the preset key or drawbars. The numbers of the preset panel and drawbars indicate
a progressive increase in intensity, starting from
(drawbar fully pushed in) to 8 inclusive. Any
tone color
may
intensity of the
as selected
4-4.
The
Hammond
arranged to
make
alities similar to
Organ has
its
preset panel
Blue
Violet
Gray
White
4-6.
TABLE
UPPER MA>a]AL
IV
5.
b.
Remove
O Q *
imI
-J
c.
Set
both
tlie
all
per-
maximum
e.
4-7.
a.
when absolutely
adjacent notes.
e.
Tap
tlie coil
it
moves
enough to the tone wheel to bring the inup to the intensity of the adjacent
notes, pull coil assembly back, if necessary. Do
not turn magnet during this operation.
close
tensity
f.
CAUTION
coil assembhes are locked into position at the factory and seldom require
These
adjustment.
Do
ing motion, as
TABLE V
GENERATOR OUTPUT VOLTAGES
Freq.
alignment.
damage
will result.
4-8.
preamplifier (See figure 1-7) should be readjusted whenever control tube V7 is replaced.
Set expression pedal wide open, both volume
tablets to "Normar\ percussion tablet '^ON",
and harmonic selector in cither position. Play
any key
down
at
in
ADJUSTMENT OF INTERMITTENT OR
NON-OPERATING KEYS.
4-9.
may
4-1
two
If, in extremely stubborn cases, the procedure above does not dislodge the dust particles, use a board to depress one octave of
notes (7 white and 5 black keys) and then
adjust the bus bar sliifters while holding the
contacts.
keys down.
4^10,
result
To
4-13-
BUS BAR
SHIFTER
Figure 42. Manual Assembly, End
View
RESISTANCE WIRES
(FROM SWITCH CONTACTS TO TERMINALS)
Figure 4-3. Pedal Switch Assembly, Cover
4-4
SWITCH
CONTACTS
KEY CONTACT
SHIFTER
Removed
SECTION V
NOTE. THE FOLLOWING INFORMATION PERTAINS SPECIFICALLY TO THE MODELS B-3 & C-3.
HOWEVER. DUE TO THE SIMILARITY OF THE CONSOLE MODELS IN THIS MANUAL, MUCH
OF THE INFORMATION WILL APPLY TO THEW ALSO.
THEORY OF OPERATION,
5-2,
5-3.
principally of
tone wheels
at the
same speed,
5^. Twenty-four of the 48 rotating subassemmounted on each side of the drive shaft
so that each of the driving gears engages 2 bakelite gears associated with opposite rotating subassemblies. These bakelite gears rotate freely
with the tone wheels on separate shafts and are
connected to their respective assemblies by a
blies are
of
in
The bakelite
MAGNET
TOME WHEEC
OME
SIE>C
OF COIL GROUNDED
COit
TONE GENERATOR
tone: VsyutLL'S
ZOlfL.
nAGM
M*.^r*cy
BAMLiTt
OAKtLiTt
ttAR
DRIVI>4G
Ct*^R
GEAR
5-1
2 AND 32
4 AND 64
16
8 AND 128
AND BLANK
4 AND 64
2 AND 32
AND
8 AND 128
16
192
4 AND 64
16
AND BLANK
4 AND 64
16
AND
AND 32
AND
AND 32
128
8 AND 128
192
4 AND 64
AND BLANK
AND 32
16
AND
4 AND 64
2 AND 32
16
AND
192
AND
128
128
4 AND 64
AND 32
AND
AND
16
192
16
AND BLANK
4 AND 64
16
AND
AND 192
AND
AND 32
128
AND 32
AND
128
AND 32
AND
128
2 AND 32
4 AND 64
16
AND
AND BLANK
4 AND 64
16
8 AND 128
192
4 AND 64
16
128
2 AND 32
4 AND 64
192
AND
128
NOTE=
NUMBERS REFER TO
THE NUMBER OF
TEETH ON EACH
TONE WHEEL.
Figure 5-2.
5-2
in
Generator
assembled together, as are the 8- and 128tooth wheels and the 16- and 192-tooth wheels.
Five 16-tooth wheels are mounted with blanks
to maintam the balance of the rotating unit.
(See figure 5-2,) Only 91 frequencies are reare
/4 inch in diameter,
wheel (See
wire
is
wound
is
sirable frequencies5-9,
harmonics
is
wound on
coil.
filters are
mounted on
top of the generator at an angle to minimize reaction between them. Wires connect the filters
to the coil assemblies and to the terminal strip
on the generator. Ninety-six terminals are provided on this strip; 3 terminals are grounded to
the generator frame and serve to ground the
manuals and pedals, and 91 terminals carry the
various frequencies,
5-12. The start motor is a shaded-pole inducThe synchronous run motor (used
on 60 cycles) has a 2-pole field and 6-pole
armature^ and a synchronous speed of K200
rpm (revolutions per minute). For 50 cycles, a
4-pole armature is used which has a speed of
tion motor.
When
1,500 rpm.
power
motor
slides
When
the
"RUN"
switch
is
When
the
"START'' switch
is
released
side,
sive,
motor,
this irregularity
fre-
quencies into each tone wheeL The spring suspension system for supporting the main tone
generator minimizes the transmission of mechanical vibration between the console cabinet and
the main generator.
5-14.
VIBRATO EQUIPMENT,
5-15.
The
raising
vibrato effect
and lowering of
is
created by a periodic
and thus is funda-
pitch,
5-3
PINION
LUBRICATING
WICKS
Figure
5 3.
Starting
Motor
sections,
comparable to the effect produced when a violinist moves his finger back and
forth on a string while playing, varying the frequency while maintaining constant volume.
which
variation.
It is
shown
5-4,
Hammond
5-16. Tlie
as
is
in simplified
Electrical
tliat at
line,
the phase
is
retarded
5-18.
line will
re-
riRST SECTION
OF PREIAMPLIFIER
hrCZHZZh-C^MZZhrCZhK
x:-
MZZM
AMPLIFIER
SIGNAL TO SECOND
SECTION OF PREAMPLIFIER
5-4
depend on
combination produces a chorus effect- For normal vibrato, this resistor is short-circuited. In
the iVlodel C-3 console the vibrato effect can be
sections are
at once.
5-19,
Since a cycle
trical degrees, a
is
equivalent to
frequency shift of
360
elec-
cycle
re-
5-25.
vibrato switch.
5-26. Tlie scanner, shown in figure 5-6, is
mounted on the main generator synchronous
motor and driven at 412 revolutions per minute.
It is a multi-pole variable capacitor with 16 sets
of stationary plates and a rotor whose plates
mesh with the stationary ones. In figure 5-7,
Index B, two sets of plates have been removed
to show the rotor.
5-27.
Signals
line
through the
shown
is
made by carbon
in figure 5-6,
Index A,
Two
a third presses
The degree of vibrato (or amount of frequency shift) may be varied by a switch (not
shown in figure 5-4) which causes the whole
5-22.
line to
5-23.
A vibrato
tion,
mixed together,
^f5PH^
4^?^*fT>!^ '^
Box
5-5
ROTOR CONTACT
PIN
ROTOR INSULATOR
2 SIDE
BRUSHES
ROTOR PLATES
STATIONARY PLATES
SIDE
BRUSH
TENSION SPRANG
[2
'CH0RUS''C0NTACT
CABLE
TO LINE
FIXED CONTACTS
CONNECT TO
LINE
CONTROL
KNOB 5HAFT
TO SCANNER
CAM SHAFT
MOVING CONTACTS CONNECT
TO SCANNER
5-6
T>H
lOHT<CT4 ClQK
V>PoaiTID*4Svj 4.-4 Cl
VllWATO PHASE
SHIFT
i.|h,
The
"NO VIBRATO"
signal
but bypasses
1 -
MANUAL
tensities of
CHASSIS ASSEMBLY.
re-
no contacts.
sound,
by
formers,
5-35.
Tlie
5-36,
switch assembly
manual
5-3
bly,
of
9-
is
pedal
5-7
(See figure
5-^),)
resistors filter
Volume
5-44.
5-45. Tlie
TERMINALS
or Swell Control.
volume control
activated by the
is
consists of
^RESISTANCE
WIRES
SWITCH
CONTACT
INSULATING
BASS PEDAL
SWITCH PUSHER
BUS BAR
SEPARATOR
used
in the
entire signal.
PRE-
5-47.
PLRCUSSION SYSTEM.
5-48.
is
It is
when
switcli circuit as
5-4L Preamplirier
I
prcaiuplilier iripul,
of the
5-43.
depending
i>n tlic
position
tablet
1
he
mput
third
harmonic
is
depressed. Percus-
(depeiidiiig
on position
goes to percussion input terminal II on the preamplilier chassis and is amplified by T4 and T5.
Tlie percussion input transformer T5 not only
provides pusii-pull signal for the control tube
Circuit, Input.
ond or
ami terminal
pacitor C3
cfrcuil> arc suiiilar, wiHi
t-Mie
"""J".
in (he
away
5-5
5-56-
console cable, and a 5-pin receptacle is provided for pkigging in additional tone cabinets,
The console cable consists of 5 conductors;
2 for AC power, 2 for push-pull signal, and
ground.
tact to the
filters.
This
vir-
-1 5 volts,
5-52.
No
heard until
5-53,
all
REVERBERATION
UNIT. (See
figure
POWER AMPLIFIER,
5-55.
This
is
and
power and
signal,
V9
tube
tion unit.
5-58.
when
is off.
5-60.
TR-1 goes
connected
The
nal in the
signal in the
5-6
A filter network
REPLACEMENT OF COMPONENTS
TONE GENERATOR ASSEMBLY
5-9
i4l
=4
Si
MB in
UJuU
[ULU.UX
JUL
fTTTTTll
IE
u
3
1^
si
Lit
5aj
lU
ft
LUin
Remove
5-66.
manual
chassis in place-
then
tilt
far as the
suitable
5-69.
Unhook
move
Lift
it
rides.
at the rear
re-
of the console,
is
preset panels.
chassis block.
f. Secure the replacement mixing transformer
assembly in place by reversing the procedures
given above.
5-73.
PLAYING KEY.
it
in this position,
5-76.
b. Remove the 2 wood screws and the 2 ovalhead bolts from the ends of the drawbar basec. Lift and block up the entire drawbar base.
d. To remove a black key, loosen its key
mounting screw, unhook key from screw, and
hft out key.
e- To remove a white key, loosen its key
mounting screw and those of adjacent black
keys. Unhook these keys from screws, push
them back, and hft out white key,
f. Insert a replacement key and install by
reversing the directions given above for removal.
g. Adjust the tension of the replacement
playing key by comparison with the adjoining
will
a.
figures 1-3
and 3-K)
CAUTION
Be careful to prevent damage to the delicately constructed pusher levers (switch
pushers) at the end of each pedaL
b. Unsolder the pedal cable wires from terminals on the generator,
c- Disconnect the brown and black leads from
the filter located on the rear surface of the upper manual assembly,
d. Disconnect the orange, red, and yellow
5-11
back
rail
of the console-
Loosen the
carefully and
L
in
Install a
large bolt at
remove
MANUAL CHASSIS-
a.
Remove
will
be
outward.
d. Remove the 4 chassis bolts (under the conand the 2 machine screws (under the front
lower rail) that secure the entire manual chassis
sole)
in place.
preamphfier leads.
f. Loosen set screw in expression control
lever arm and detach arm from preamphfier.
g- Remove preamplifier from shelf after taking out mounting screwsh. Unsolder (do not cut) the 79 manual leads,
2 ground leads, 3 pedal signal leads (red, orange,
and yellow), and the pedal filter leads (brown
and black),
At the power terminal panel, unsolder the
i.
five wires leading to the manual chassis start and
run-motor switches. Determine these leads by
tracing the leads from the switches,
j. Detach pilot lamp bracket by removing
e.
Disconnect
two wood
all
screws.
5-12
5-8
are
it.
5-78.
wired to the
One
start switch.
lead (black)
Four
leads,
is
yellow,
that the switch can be removedg. Pull out the switch. Note the position of
the switch with respect to the color of the wires
tion. Braid
been
installed properly,
k.
START MOTOR
5-82.
Replacement of the
accomplished as follows:
5-83.
start
motor
will
be
To make
5-84.
ASSEMBLY.
b.
motor
the gen-
that
is
to be replaced.
at preamplifier,
is secured by four machine screws to the generator frame. Remove
the nuts and lockwashers, and then disengage
the flywheel coupling springs.
e.
5-86.
units,
a.
bc.
Remove
Remove
the
the
filter.
5-13
5-14
When ordering replacement parts from the Hammond Organ Company, the
following guidelines should be observed:
1)
2)
All
3)
All
4)
All
I
6-1
Models
C. Early Tone Cabinets
List
Parts List
NOTES:
A
contains items
Part
2.
3.
4. Parts listing
6-2
common to all
1.
availability.
this
list first.
TABLE OF CONTENTS - A
B-3/C-3/PR-40 PARTS LIST
MAJOR ASSEMBLY
PAGE
(TJ)
6-5
(7?)
6-6
(k^ UPPER
6c
6-8
6-9
6-10
iQ
@
@
(le)
6-11
6-13
5-13
6-14
6-15
PR 40 TONE CABINET
6-16
6-17
6-19
6-20
6-4
6-11
PREAMPLIFIER ASSEMBLY
6-21
6-22
-o
15
FIGURE 1
FRONT VIEW
WS:C
PANEL
rtJSiC
PAMIL HINGES
rtlSIi;
FALLBOARD
B-3 (WALNUT
ow-oie29q
1-T?
0J2'015b9B
;-lfl
903-0^0711
1-19
STRETCHPJ BAP
OM-OO!
BENCH AS5ELV
MOUNTING BLOCK
OM-OOn^O
Lcpckvaahfrr
Hue
1-22
OW-MISB?
I-?3
070-000^01
l'2i
'II
HEEL REST
070-000021
1-J5
-Yt
02^-OlftWJ
BHACHns IBLACKI
a21-01ft?fl4
^' .
Hil-OOOOOS
999-000418
999-0007^5
B27-102BJi
050-036076
050-001619
.._,.,..,..,.,-,,..
0J5-021310
ENTJBLDEK SCREWS
152-000012
Wflifter
EtffiBLOCKS
OW-03556D
i-20
i-?l
RIGWT HAND
'
^M>
CW^Ol^VJ
999-00l'l3
05O-0O1581
379-092710
'
10
'
-12
HEEL REST
-11
...........
Lic^asher
1-U
l-n
'
......
UauFH-F
\-
BRASS
)-J^
I-1&
PLBflL
1-U
TOP
050-036195
\^2h
]-;fl
l'?9
MANUAL BDLT
l-iO
f^NUAL BOLT JZ
1-31
Wa^HER 14
1-32
0|I-OJ23t6
0J:-O22JB7
BB2-030T37
.
042-02*i
a|6- 101914
99q-a0O7lJ
99i-O0OD*i
0-D0lb3J
O25-02i309
1-37
OW-D017i5
HOO':aiSli
999-TO0O99
82^^00006
9':"
OSElll
^99''0nh00ft
:.,-,.,_.
824-000007
991-000134
.*.......>...
*9l-00075l
l-
999-006007
025-034727
6-5
START
SYNCMROWXtS
MOTOR
END
MOTOR
44
47
mi
I
'1
GNEP*TLJH
<
r-BS
'-""IMM
IHH-H
IIU
fHH-lpJA/h;
,--
:k
ii
i^qa
>
i'69
^- S
FILTER TH*N5FDIWU
iJt?
J-
FBffliJEfC''
|67
'91
j-l.
Xl
^'-U
2-15
2~U
,'-U
Z-16
,.
...
''bO
7-11
tftfi
2-14
niM-llUMh
l-M l4.*h'>
TRf.hJSr{lRHFR
FPERUtHCY PBZ
HLIER
TRAHSrOfiHER FRfflDENCY
'5fl
.HMJlrt^i
?-3S
3-
riUEK
FU^m
TBAfcJSFDftMET*
l'lMi_'4;
O0)-flU;i7
7-t9
DOJ-Ol-iZlB
2-20
FILTIH TBANSrcRHnJ
FTTEflUESiCY
*'7H
00l-t)V.l!t!f
2-21
flS4
2-22
2-21
2-?A
f*
2-25
fi^2
2-26
2'J7
3-2H
,,--.,,
''T4
.......
.
O03-0J42^2
0O3-O1AJ5B
003-034257
-^
003-034213
3-i2
OOJ-034250
1-43
^4*3
*"
003-034*26
001-036683
003-0366^4
4fi
"7
Vinm
UB
TRANSFORMER FREHUEM^Y
.......
r
001-036685
0O3-Oit6tt'
'
003-03663^
C01-n)i?ib
FREB, 1 '1?
FREO. 2^-30
Dni'OJi25l
Pm
BLUE
.
...,---,.,
FREa. 31-16
FREfi.
FHEfl,
i7 40
55-TZ
FHCB. 73-91
BflOW^
]i la
FREB. 19 24
00]-01i?5fl
003-03^254
rREfl.
003-01^229
FHta. 49-S4
6-6
On3-03^?35
<K"l-0JiJ60
O03-O14351
76
'BD
001-014231
rF^fauEPC?
OOJ-0 342^9
2-41
?'*?
00 3-034 2 sr-
FRtOLJENCT 153
FlLTE-fl
2- 3 J
003-0162 30
FUTER TRANSFORMER
?-3ft
3**
003-Oa42S&
003-03423?
1-35
lf\\-U\f,y\V
001-01424S
003-0342J7
MlM-tU'.J'il
a01-Q342*i
.
END
003-014232
Oni-n3'*:MJ
'tO
a- 4.5
Z'lH
16
iffH-lM-V^Bft
17
]-vxkLvkk'
2-n
l^lfl
I.-,
2-JTJ
nrn-lM4*V
r'bb
1-
16
2-?9
nOl-MU/il
iin
J-tlJ
|-(H^Jft
HlH-OU/^M
'2.1.
49
15
l^ J*iJ
;- J
>
14
:^^
13
....
...
YELLQv^
06S-Q3326B
065-033271
065-On272
065-0337?!
CTEEN
065-033^75
NATURAL
O63-0ii277
06^-013159
O65-0J3i60
065-011161
CTEEN
REH
NATURAL
>
FIGURE 3
\- 3
DfiAW&flftS
<
BlTSBAFJS
LDWER-PEDALJ
3- 7
SCREW
3-
J- 9
WASHER
3-10
NUT
3-11
COKTACT
-,....<--.,,.
BULBARS
.......,,-.
U>
UJ
.-,.,,,,.
l^O-00000fl
Oil-O^H^l
^-n
OJ^-OaaJH
scRw
- A
U)
3-13
OJO-Ol-frtQ^
3-W
STQf'
(139-OlSlWi
3-i5
060-0 IbbOl
0^1-02047^
3- It
SLIDER DNLV
028-036401
0*^-U21890
3-L7
flift-O-iO^l^
3-lS
04S-fl318B9
- -
t ^
SCHEU iDRAiMBAR
KNOfit
>
OiJ-OZlftflB
W^J30^J4
DPU^HAIi HNDB5
9*J9-0(M)n5
*i99-noini
.
00fl-0?0?7i
6-7
45
IS
36
40 20 25 46 43
19
16
17
14
15
13
12
10
II
42
6 7
41
28 29 30
35
39 38
FIGURE 4
ft.
ft-
(Wilt
*'C"
tfv
.....
ttib-tii^f-fyb
.......
lll-^-OlShfiV
WHin
"E^'
KCV
a2^-0l^h*tf
4^
f.
itHiTl
F-
<HPt
0?^-OI5hf>9
4-
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TABLE OF CONTENTS - B
EARLY HAMMOND CONSOLES
MAJOR ASSEMBLY
PAGE
6-24
6-25
6-26
6-26
QtONEBAR
6-27
ASSEMBLY
6-27
6-27
(ZT)
6-27
MATCHING TRANSFORMER
6-27
PRESET PANEL
6-27
PREAMPLIFIER
6-27
GENERATOR
6-28
AMPLIFIERS
6-28
6-29
REVERB AMPLIFIER
REVERB UNIT
'
6-29
POWER SUPPLY
6-29
SPEAKERS
6-29
6-28
6-30
6-30
6-30
6-30
6-30
EXPRESSION PEDAL
6-23
AND RT-3
CONCERT MODELS RT, RT-2,
HLAI^ VIKW
6-24
ni-
JLl
IWiJJi
i'MUUSSlONJ.
tDAL SwriCH
EfJCLOSEDl
6-25
JVriU-M
Jif-AJ<
lYPlC^Ai,
6-26
VIK'A
UKAM
Uk'
V|l A
i.tiNSl.'l
U^
Es
\t
11
Kl XlLU
\^'l
TONEBAR ASSEMBLY
1.
TOHEBAR KNOBS
NOTE:
BLACK
IVORY
BROWN
PARTS FOR EARLY "RATCHET" "CLICK" TYPE TONEBAR ASSEMBLY
FOR
ARE NO LONGER AVAILABLE.
PART # INFORMATION ON LATER
SERIES TONEBAR ASSEMBLY, SEE
PAGE 6-7 OF B-3/C-3 PARTS LIST.
025-035570
025-035571
025-035572
500 OHM
676-000221
003-025348
MATCHING TRANSFORMER
MODEL AIOO, DlOO, RT3
003-022020
PRESET PANEL
(SEE PAGE 6-13 OF B-3/C-3 PARTS LIST.)
GENERATOR
1.
FLYWHEEL COUPLING SPRING (2 USED)
GEARS COUPLING SPRING
2.
3.
COUPLING DRIVE SHAFT
(SEE PAGES 6-6 AND 6-22 OF THE B-3/C-3
PARTS LIST FOR ADDITIONAL
INFORMATION.)
012-002345
012-031463
064-035768
fa-27
PREAMPLIFIER
PARTS INFORMATION FOR THE PREAMPLIFIER
USED ON MODELS AlOO, DlOO AND RT3 IS
FOUND ON PAGES 6-11 AND 6-12 OF THE B-3/C-3
PARTS LIST.
VIBRATO LINE TRANSFORMER MODEL BV,CV,RT 003-016906-001
1.
BV,CV,RT 003-016906-002
2.
VIBRATO OUTPUT TRANSFORMER
HEATER TRANSFORMER
3.
003-016 90 7-001
MODEL BV,CV,RT
003-017831-001
MODEL E
FOR 56-57 PREAMP
4.
OUTPUT TRANSFORMER
003-017826
MODEL E OR 56-57 PREAMP
00 3-016906-00 2
MODEL AV,BV,BCV,CV,DV,RT
003-024895
MODEL R2,C2,RT2
003-021414-001
POWER TRANSFORMER MODEL B2,C2,RT2
5.
POTENTIOMETERS (TONE CONTROL)
6.
IMEG
MODEL A,B,C,D,G,BV,CV,RT
DUAL lOOK
MODEL E
676-000126
300K
MODEL B2 ,C2 ,RT2
#5 6
VACUUM TUBES
7.
NOTE:
#57
002-006502
002-006306
002-006305
T000-00000 0-6J7
8.
6SJ7
6SN7
6SC7
6J7
6J5
SWELL LEVER & BUSHING ASSEMBLY
9.
MODEL A100,D100,RT3
B2,C2,RT2
TRIMMER CAP (ALL)
060-029990
060-021406
499-021468
3.
4.
;i0J
6-28
AMPLIFIERS
(AO-39)
MODEL A-lOO
(AO-33-5)
MODEL D-lOO
POWER TRANSFORMER AO-39
1.
I20V/60CY
DOMESTIC
EXPORT 234V/50-60CY
2.
OUTPUT TRANSFORMER
AO-39
AO-33-5 TREBLE T1,T3
BASS T2
FILTER CAPACITOR
3.
AO-39 DUAL 30MFD/450V
AO-33-5 40/40/30MFD/450V
003-036754
003-024897
003-025349
003-025346
450-040200
4.
(REV GAIN)
2K.
AO-39 (HUM BALANCE) 100 OHM
AO-39 (SIGNAL BALANCE) 250 OHM
AC PLUG (2 PRONG) AO-39
7.
5 PIN RECEPTACLE
AO-39
8.
4 PIN RECEPTACLE
AO-39
VACUUM TUBES
9.
12AX7/ECC83
6BQ5
5U4/5Y3
12AU7
12BH7
10. TRANSISTOR AO 33-5
5.
.676-000107
6.
REVERB AMPLIFIER
MODEL AlOO (AO-35) (EARLY SERIES)
(AO-44) (LATER SERIES)
POWER TRANSFORMER
1.
AO-35
AO-44 DOMESTIC I20V/60CY
EXPORT 220V/50CY
OUTPUT TRANSFORMER AO-35
2.
AO-44
FILTER CAPACITOR
3.
AO-35
AO-44
MINIATURE LAMP GE ifll 6.3V/. 15A
4.
LAMP HOLDER
5.
6.
POTENTIOMETER AO-44 R27 2K
TRANSISTOR
7.
AO-44
FUSE AO-44 ONLY DOMESTIC 3/4A
8.
EXPORT 3/8
VACUUM TUBES
9.
5U4/5Y3
ECC83/12AX7
6BQ5
EZ81/6CA4
ECL86/6GW8
REVERB UNIT
SPEAKERS
005-020790
005-020864
002-012301
002-006700
002-005201
002-012300
002-012302
001-021070
126-000111-007
003-024956
003-036756
003-036552
450-040200
016-022885
001-021260
016-039512
002-005201
002-012301
002-006700
002-006200
002-006401
121-000046
5J
5.
6.
7.
114-000002
Tl
T2
40/20/20MFD/400V
20MFD/400V
MULTI CONNECTOR (FEMALE)
MULTI CONNECTOR (MALE)
TUBE SOCKET (L3 USED)
VACUUM TUBES
6J5
6SL7
6SN7
6SC7
(fe)
450-040200
005-019113
005-019081
004-018934
TOOO-000006-SL7
002-006306
002-006305
1,
MODEL BV,CV,RT
B2,C2,RT2
AiOO,D100,RT3
COIL MODEL B2,C2,RT2
EARLY MODEL ALOO,D100,RT3
LATER MODEL AlOO ,D100 ,RT3
6-30
EXPRESSION PEDAL
MODEL B2,RT2
MODEL C2,A100,D100,RT3
(FOR ADDITIONAL INFORMATION, SEE PAGE
6-15 OF B-3/C-3 PARTS LIST.)
121-021860-001
121-000083
003-021842-003
003-016924-001
003-033303
045-002013
123-000009
123-000010
TABLE OF CONTENTS - C
EARLY HAMMOND TONE CABINETS
MAJOR ASSEMBLY
PAGE
6-32
6-33
(2^ SPEAKERS
6_34
TUBES
(J?)
6-3A
REVERB AMPLIFIER
PLUGS
(j_34
AND RECEPTACLES
6-35
6-35
NOTE;
6-31
AMPLIFIER TYPE
MODEL
SERIAL
A-20
A-40
B-40
2400 to
C-40
D-20
DR-20
/;
19 841
INCL
HR-1
ALL
DX-20
28709
ER-20
27001
F-40
37001 to 37659
37660 & ABOVE
H-l-A
FR-40
HR-1
H-l-A
to
ALL
H-40
HR-40
55002
50002
56500
80061
JR-20
b-32
H-l-A
to
to
56499
56499
& ABOVE
&
ABOVE
30500 to 32015
32016 & ABOVE
75877 & ABOVE
TYPE AO-15
POWER TRANSFORMER lL5V/60Hz
1.
115V/50-60HZ
230V/50-60HZ
OUTPUT TRANSFORMER (TREBLE)
2.
(BASS)
2.5 HENRY
FILTER CHOKES
3.
15 HENRY
REVERB TRANSFORMER
4.
TYPE AO-40
POWER TRANSFORMER I15V/60Hz
1,
115V/50-60H2
230V/50-60H2
OUTPUT TRANSFORMER (TREBLE)
2,
3,
FILTER CHOKES
AO-20927-10
AO-20927-11
AO-20927-12
AO-21566-L. ,003-021566-001
00 3-0166 81-006
AO- 166 81-6
AO-16682-5
AO-16682-4. .003-016682-004
003-0 16 L 34-003
AO- 16 134-3
AO-235L4-1. .003-023514-001
AO-23514-2
AO-23514-3
AO-21264
(BASS) AO-21106-6
6 HENRY AO-21268-I
18 HENRY AO-16682-3
SPEAKERS
ELECTRO DYNAMIC SPEAKERS ARE
USE PART it
NO LONGER AVAILABLE.
014-021270 AS A REPLACEMENT
ALONG WITH 250 OHM 10 WATT
RESISTOR, FOR THE FIELD COIL.
SEE PAGE 6-36 FOR MORE DETAILS.
MODEL JR20,HR40,KR40,H40,K40
10" 6-8 OHM
12" 8 OHM
15" 4 OHM
MODEL PR20
12" 8 OHM
MODEL PR40,QR40,P40,040
15" 4 OHM
12" 8 OHM
NOTE:
TUBES
#56
2A3
6J5
6V6
5U4
6SN7
6SC7
6SJ7
REVERB AMPLIFIER
(USED IN MODELS DR ,ER,FR,T0NE CABINETS)
AO-16134
OUTPUT TRANSFORMER
1.
AO-16135
COUPLING TRANSFORMER
2.
AO-16133-l
HEATER TRANSFORMER
3.
6J5
TUBES
4.
6J7
6SN7
6SJ7
6-34
014-021075
014-021270
014-028923
014-021270
014-023421
014-021270
00 2-006 703
002-005201
002-006306
002-006305
002-006502
003-016134
TOOO-O00000-6J7
002-006306
002-006502
(TJ)
PLUGS AND
1.
5 PIN
5 PIN
6 PIN
6 PIN
6 PIN
7 PIN
7 PIN
2.
3.
4.
5.
6.
7.
(T)
RECEPTACLES
PLUG
RECEPTACLE
PLUG
RECEPTACLE (WAFER TYPE)
CONNECTOR (WAFER TYPE)
PLUG
RECEPTACLE
4.
5.
005-016018
005-016032
005-0L6156
005-020757
005-020758
005-016121
005-016126
011-036408
200-000022
005-016018
005-016032
060-020560
511-017277
511-017277-050
511-017277-100
b.
511-010 29 8
505-061721
504-029546
C.
CONNECTOR SOCKET
CONNECTOR CAP PACKAGE (2 USED)
AC LINE CORD
(CONSOLE TO WALL OUTLET)
011-035752
SPEAKERS
SPEAKER RLPLACEMENT IN ARLY TONE CABINETS USING ELECTRODYNAMIC
1,
>
#014-021270.
Remove speaker plugs from amplifier and remove both speakers from tone cabinet.
2.
Clip all
4,
5.
6,
7.
8,
Mount new speakers in cabinet and insert plugs into amplifierwith solder lug to upper binding post.
9.
Dress 250 ohm resistor away from any speaker leads or other objects to assure
adequate heat dissipation.
cable.
1
Attach leads
CHASSIS
USE SLEEVING
ON THIS LEAD
6-36
HOOO-000495
11/87
5C
printed
in u.s.a.