I like how this adds to my knowledge of how Ken produced all these sounds and made it sound as if there were two or three organists playing. Interesting to that he did so way back in the 40's & 50's. Looks as if Ken would have been in his element if he had got into the digital age.
No doubt Ken Griffin would have done some interesting stuff if he, 1. would have been around when MIDI came into widespread use, 2. if he had been around to use a suffix -3 Hammond like a B3 or C3, or even better, an H100 or an X66, and likewise, 3. if he had been around when digital technology regarding effects and recording began to replace analog technology. We can only guess, but that he went as far as he did with the technology of his day is pretty impressive in and of itself.
Ken did it by actually playing it as an overdub, using a drawbar combination like 00 8000 800 with no vibrato, and he rapidly trilled the keys to get the reit effect. He also enhanced it by using tape echo. My approach yields the same result but is entirely different, since it's possible to take signal outputs from a number of different places in a traditional Hammond and then to modulate said signal with a square wave output into a gating circuit. Likewise, I use digital delay to simulate tape echo, but his method is infinitely easier to do if you just want to do it in one song. Also, in his day, solid state was still in the future, analog audio (such as tape echo) was the only way to get a repeat echo effect unless you set up under a bridge, which would of course be totally impractical. Likewise, reverb was generally done with transducers driving coil springs and other transducers picking up the signal from these springs. Today it's possible to pull a signal off certain drawbars, and then digitally process it in a number of ways and inject it back into the Hammond. No room here to describe in detail, unfortunately.
I like how this adds to my knowledge of how Ken produced all these sounds and made it sound as if there were two or three organists playing. Interesting to that he did so way back in the 40's & 50's. Looks as if Ken would have been in his element if he had got into the digital age.
No doubt Ken Griffin would have done some interesting stuff if he, 1. would have been around when MIDI came into widespread use, 2. if he had been around to use a suffix -3 Hammond like a B3 or C3, or even better, an H100 or an X66, and likewise, 3. if he had been around when digital technology regarding effects and recording began to replace analog technology. We can only guess, but that he went as far as he did with the technology of his day is pretty impressive in and of itself.
intresting stuff.... i like the autmatic voice as well
I want to know how ken griffin got that sound like reiterating bell sound
Ken did it by actually playing it as an overdub, using a drawbar combination like 00 8000 800 with no vibrato, and he rapidly trilled the keys to get the reit effect. He also enhanced it by using tape echo. My approach yields the same result but is entirely different, since it's possible to take signal outputs from a number of different places in a traditional Hammond and then to modulate said signal with a square wave output into a gating circuit. Likewise, I use digital delay to simulate tape echo, but his method is infinitely easier to do if you just want to do it in one song. Also, in his day, solid state was still in the future, analog audio (such as tape echo) was the only way to get a repeat echo effect unless you set up under a bridge, which would of course be totally impractical. Likewise, reverb was generally done with transducers driving coil springs and other transducers picking up the signal from these springs. Today it's possible to pull a signal off certain drawbars, and then digitally process it in a number of ways and inject it back into the Hammond. No room here to describe in detail, unfortunately.