Other well known M-series
players include Rick Wright of Pink Floyd, John Paul Jones from
Led Zep, Jon Lord from Deep Purple and Francis Monkman of Curved
Air as well as many others.
The M-series took the tonewheel technology of the bulkier
previous models, refined it and scaled it down in 1960 to make smaller
'spinet' models that were more appropriate for the growing 'home
market'. There were various models in the range that had different
cabinets - for example, the M100 had ornate, carved legs that were
appropriate for the home and church market whilst the M102 (shown
above) had a more spartan cabinet that was better suited to gigging.
All had the same basic specifications, however: 2 x 44-note keyboards
and a 13-note pedalboard, two sets of drawbars (one for each keyboard),
six presets and 'touch percussion' effects (available on tabs above
the upper keyboard manual), split vibrato, vibrato chorus, built-in
spring reverb and speakers and a swell (volume) pedal.
As was typical with Hammonds then (and now), the sound
was (is) best heard fed through a Leslie rotary speaker although
the M-Series' internal speakers certainly made it more self-contained
and suitable for home and church use (and some jazz and rock musicians
did use the internal speakers for recordings and live use). It was
possible to order the M102 with a split cabinet where the upper
keyboard section could be separated from the lower speaker/pedal
section to make transportation easier - a far cry from the hernia-inducing
B/C3! But the underlying tonewheel sound generating technology in
the M-series was essentially the same as its predecessors.
I have a diverse range of genuine, classic Hammond sounds
here from the the real thing - Paul Marshall's original, vintage
Paul has meticulously sampled his M102 into his Akai
Z4 at every major third for both the upper and lower manuals and
the pedalboard which have been carefully converted to Kompakt for
Nostalgia. The sounds are stunning and in many of the samples, you
can hear the various resonances and 'bleed' of the tonewheel generator
in the samples so that they sound totally authentic! All the samples
are recorded directly with no Leslie. As such, these sounds can
be improved by putting them through a rotary speaker effect.
I am very grateful to Paul for his generous donation.
|Notes about drawbar settings / patch names:
The Hammond organ is essentially a primitive
additive synthesiser and the drawbars are effectively level
faders that allow you to set the relative levels of a sound's
harmonics or 'overtones' (except that the fader action is
reversed with 'louder' being at the bottom of the drawbars'
Each of the Hammond's nine drawbars has a stepped range of
0-8 and organ players used this as a kind of short-hand to
Thus 88 8888 888 is all drawbars fully out (i.e. towards
the keyboard) for a 'full on' sound:
88 8000 000 uses only the the first three drawbars/harmonics:
68 6800 000 has the following drawbar settings:
From this, you can begin to determine the nature of the sound.