We had one when I was growing up (?). This is what I leaned the basics os synthesis on in 1958-62 or so. The chords speak for themselves. There is a setting where you can have the chords playing without having to use the bar. It is controlled by one os the switches. This was a derivative of the original Extravoice which had a split KB instead of the chord set. The treble keyboard is the most interesting. It is a two channel affair with ORGAN and SOLO. The ORGAN iconsists of two fully polyphonic voices 8' String and 8' Flute. The SOLO section is a monosynth. The 3 registers are simultaneously available octave settings. The WOODWIND changes the waveforum. If only one octave setting is on this goes from the default sawtooth to a square. If you have more than one octave engaged, you get some wierd pulse wavess. The white tabs over on the right are filters. Each of thise tabs appears to operated a bandpass filter so that taken together you have a full 100% CF. Alas there is no resonance control. I have forgotten much of what the black keys do. The SOLO section can be detuned from the ORGAN by means of knobs in the back of the instrument. As I said, this is on what I learned basic synthesis when I was 13. If I recall aright, this synth was high-note priority which let you use other fingers to play the regular ORGAN voices below the SOLO voice. We got ours in 1955 when it coase $1000. It was designed for compactness and had a manual that used a different style of music notation for those who could not read the staff
Those are not crazy fuses -- they are inductors which form part of the oscillator/tone circuitry. Hammond's credo was: "We don't need no stinkin' fuses!"
Good evening friend, God bless you Greetings from Venezuela !! friend what is the price of the hammond model s6? I would like to know the price of that organ and I would also like to know if it is easy to find a hammond model s133, greetings and I await your response.
OK so I have The same one that I just got but the volume is really quiet and I don’t know what it is all the tubes light up and I can’t figure out why it’s quiet
Just found an s4 on the curb, plugged it in hit the expression pedal, pilot light turns on, all tubes light up, but no sound... any ideas? Am I missing a standby switch???
Since it is tubes you have to give it a while till it warms up. If it still doesn't work then see if the speaker is in tact. Hope you can get it playing again.
I wonder if Arturia or Martenic could be made interested in this beast. I have some audio samples of the chords. They are a bit weak in footages, sounds like 2. But the audio samples could be overdubbed an octive up
@technological reinovations The original was all tube and quite a fiew of them. In moderen terms, it would be too limited in function at the price compared to what is out there, whereas, as part of a collection, it would find a niche. Arturian has a cute little trick they pull; "under the hood". The instrument deploys as a stock version of what it was, like a Vox Connie or Farfisa. Then you clck on the top panel and you see a representation of the guts of the instrument, to which you can make adjustments to add new performance features. Also, the S-6 had a primitive synthesizer as it's main melody voice and organ flute, a kind of triangle waveform and strings both only aat 8'. The synth voice was monophonic high-note priority. Arturian could probably fix it as the did the miniMoog for up to 8 notes poly. Arturia has a new version of the Syclavier designed by one of the original inventors for them. It was on the S-6 that I learned the basics of synthesis in the 1958-60 timeframe. The synth could also be detuned from the organ voices. I used the same S-6 as the basis for developing my KB skills beginning in '66 although some of the polyphonic notes had gone out of tune and the instrument had not been maintained at all since the late 1950's. Auturia might be inclined to reploace the two 8" voices with the same at 16',8' and 4' or a drawbar channel. I would also overdub the samples with the same sound an octave up as the chord sounds were a bit weak in frequency rrange. They may also have a problem with using any existing controller for the 96 chords and the two bass pedals. It was said to have been used in the 1959 or 60 recording of NATIONAL CITY and appears to have been used by Johnny and the Hurricans in RED RIVER ROCK, REVIELLE ROCK (which is my wake-up song on my phone) and BEATNIKK FLY (a rock and roll version of JIMMY CRACK CORN) in the 1959-60 period
My grandmother had the Hammond S6. Thank you for a great demonstration on how to work it.
Thanks a lot for this kind introduction, very helpful!
Thanks for the tour. I just got one of these and I hope to get it cleaned up and workign right soon!
I just got one of these free. I'm so stoked.
We had one when I was growing up (?). This is what I leaned the basics os synthesis on in 1958-62 or so. The chords speak for themselves. There is a setting where you can have the chords playing without having to use the bar. It is controlled by one os the switches. This was a derivative of the original Extravoice which had a split KB instead of the chord set. The treble keyboard is the most interesting. It is a two channel affair with ORGAN and SOLO. The ORGAN iconsists of two fully polyphonic voices 8' String and 8' Flute. The SOLO section is a monosynth. The 3 registers are simultaneously available octave settings. The WOODWIND changes the waveforum. If only one octave setting is on this goes from the default sawtooth to a square. If you have more than one octave engaged, you get some wierd pulse wavess. The white tabs over on the right are filters. Each of thise tabs appears to operated a bandpass filter so that taken together you have a full 100% CF. Alas there is no resonance control. I have forgotten much of what the black keys do. The SOLO section can be detuned from the ORGAN by means of knobs in the back of the instrument. As I said, this is on what I learned basic synthesis when I was 13. If I recall aright, this synth was high-note priority which let you use other fingers to play the regular ORGAN voices below the SOLO voice. We got ours in 1955 when it coase $1000. It was designed for compactness and had a manual that used a different style of music notation for those who could not read the staff
According to the serial number, this is a 1956 model.
Those are not crazy fuses -- they are inductors which form part of the oscillator/tone circuitry.
Hammond's credo was: "We don't need no stinkin' fuses!"
nice and useful video. thanks. that instrument is a work of art beautiful
it´s a wonderfull thing!!!
George Harrison used one of these when he wrote and recorded "Blue Jay Way".
Really? That's such a cool bit of info to know !!
Thanks for the run through. I was given one today in sad shape I'll try and rebuild...
What bass notes do yet get if you select an augmented or diminished chord?
Good evening friend, God bless you Greetings from Venezuela !! friend what is the price of the hammond model s6? I would like to know the price of that organ and I would also like to know if it is easy to find a hammond model s133, greetings and I await your response.
OK so I have The same one that I just got but the volume is really quiet and I don’t know what it is all the tubes light up and I can’t figure out why it’s quiet
Just found an s4 on the curb, plugged it in hit the expression pedal, pilot light turns on, all tubes light up, but no sound... any ideas? Am I missing a standby switch???
Since it is tubes you have to give it a while till it warms up. If it still doesn't work then see if the speaker is in tact. Hope you can get it playing again.
I wonder if Arturia or Martenic could be made interested in this beast. I have some audio samples of the chords. They are a bit weak in footages, sounds like 2. But the audio samples could be overdubbed an octive up
@technological reinovations The original was all tube and quite a fiew of them. In moderen terms, it would be too limited in function at the price compared to what is out there, whereas, as part of a collection, it would find a niche. Arturian has a cute little trick they pull; "under the hood". The instrument deploys as a stock version of what it was, like a Vox Connie or Farfisa. Then you clck on the top panel and you see a representation of the guts of the instrument, to which you can make adjustments to add new performance features. Also, the S-6 had a primitive synthesizer as it's main melody voice and organ flute, a kind of triangle waveform and strings both only aat 8'. The synth voice was monophonic high-note priority. Arturian could probably fix it as the did the miniMoog for up to 8 notes poly. Arturia has a new version of the Syclavier designed by one of the original inventors for them. It was on the S-6 that I learned the basics of synthesis in the 1958-60 timeframe. The synth could also be detuned from the organ voices. I used the same S-6 as the basis for developing my KB skills beginning in '66 although some of the polyphonic notes had gone out of tune and the instrument had not been maintained at all since the late 1950's. Auturia might be inclined to reploace the two 8" voices with the same at 16',8' and 4' or a drawbar channel. I would also overdub the samples with the same sound an octave up as the chord sounds were a bit weak in frequency rrange. They may also have a problem with using any existing controller for the 96 chords and the two bass pedals. It was said to have been used in the 1959 or 60 recording of NATIONAL CITY and appears to have been used by Johnny and the Hurricans in RED RIVER ROCK, REVIELLE ROCK (which is my wake-up song on my phone) and BEATNIKK FLY (a rock and roll version of JIMMY CRACK CORN) in the 1959-60 period
tocate una del Gran Caribe que molleja..
It's a shame the community died 😭 don't worry I'm here
It only has 37 keys, that's a compass of 3 octaves from F to F.
@technological reinovations They should make more of em again
$$$$$????????