@@ -1,46 +1,46 @@-Produced from 1963 to 1965, the G-100 (The "Grand 100") was Hammond's attempt to produce an electric organ as similar as possible to a classic pipe organ. For the classical repertoire
, the flat pedalboard, drawbars, key presets, lack of couplers, etc. were
simply too different for the performer than the
radial arc
pedal clavier, pipe stops, preset
studs, couplers, etc. of a true pipe organ console (See the reasons why ClassicalOrganistsDislikeMostHammonds).
+Produced from 1963 to 1965, the G-100 (The "Grand 100") was Hammond's attempt to produce an electric organ as similar as possible to a classic pipe organ. For a pipe organ performer
, the flat pedalboard, drawbars, key presets, lack of couplers, etc. of the Hammond was
simply too different for the performer used to a concabe
radial pedal clavier, pipe stops,combination
studs, couplers, etc. of a true pipe organ console (See the reasons why ClassicalOrganistsDislikeMostHammonds).
The G-100 was two manual instrument in a VERY large console with fifty stops divided into four tonal divisions:
* Swell 19 stops (Upper Manual)
* Antiphonal 9 stops (Played on the Swell Manual)
-* Great 14 stops (Lower Manual)
+* Great 14 stops (Lower Manual)
- Swell Stops
Antiphonal Stops
+ Swell Stops
Antiphonal Stops Great
Stops
-Geigen Diapason 16 ft. Open Diapason 8 ft.
-Bourdon 16 ft. Gedeckt 8 ft.
-Diapason 8 ft. Salicional 8 ft.
-Geigen Principal 8 ft. Viola da Gamba 8 ft.
-Concert Flute 8 ft. Gemshorn Celeste 2 ranks
-Aeoline 8 ft. Principal 4 ft.
-Dulciana Celeste 2 ranks Flauto d'Amore 4 ft.
-Gamba 8 ft. English Horn 8 ft.
-Octave 4 ft. Trumpet 8 ft.
-Gedeckt 4 ft. Tremulant
-Nazard 2-2/3 ft.
-Flautino 2 ft.
Pedal Stops
-Tierce 1-3/5 ft.
-Larigot 1-1/3 ft.
-Mixture 3 ranks
-Vox Humana 8 ft.
-Oboe 8 ft.
-Clarinet 8 ft.
-Clarion 4 ft.
-Swell to Swell 16 ft.
-Swell Unison Off
-Swell to Swell 8 ft.
-Tremulant
+Geigen Diapason 16 ft. Open Diapason 8 ft. Bourdon 16
ft.
+Bourdon 16 ft. Gedeckt 8 ft. Open Diapason
8 ft.
+Diapason 8 ft. Salicional 8 ft. Melodia
8 ft.
+Geigen Principal 8 ft. Viola da Gamba 8 ft. Grossflute
8 ft.
+Concert Flute 8 ft. Gemshorn Celeste 2 ranks Dulciana 8 ft.
+Aeoline 8 ft. Principal 4 ft. Cello 8
ft.
+Dulciana Celeste 2 ranks Flauto d'Amore 4 ft. Octave
4 ft.
+Gamba 8 ft. English Horn 8 ft. Gedeckt 4
ft.
+Octave 4 ft. Trumpet 8 ft. Nazard 2-2/3
ft.
+Gedeckt 4 ft. Tremulant Fifteenth 2 ft.
+Nazard 2-2/3 ft. Mixture 4 ranks
+Flautino 2 ft.
Pedal Stops Trumpet 8 ft.
+Tierce 1-3/5 ft. Contra Bourdon 32 ft. Harp
+Larigot 1-1/3 ft. Gedeckt 16 ft. Chimes
+Mixture 3 ranks Bourdon 16 ft. Great to Great 16 ft.
+Vox Humana 8 ft. Violone 16 ft. Great Unison Off
+Oboe 8 ft. Principal 8 ft. Great to Great 4
ft.
+Clarinet 8 ft. Gedeckt 8 ft. Swell to Great 16
ft.
+Clarion 4 ft. Super Octave 4 ft. Swell to Great 8
ft.
+Swell to Swell 16 ft. Trompette 8 Ft. Swell to Great 4
ft.
+Swell Unison Off Great to Pedal 8 ft.
+Swell to Swell 8 ft. Swell to Pedal
8 ft.
+Tremulant Swell to Pedal 4 ft.
-Unlike the ConsoleOrgans preset keys (
which can generate truly awful sounds if more than
one preset key is pressed
at a time)
, the organist on a Grand 100 could combine any of these stops.
+Unlike the ConsoleOrgans preset keys which were intended to be used only
one at a time, the organist on a Grand 100 could combine any of these stops.
-Another key feature of pipe organs is the ability to save combinations of multiple stop settings that are recalled by the performer with thumb studs under the manuals and toe studs above the pedals. On the Grand 100 there were 18
thumb studs. These stop
combinations could be recalled at any time and 17 different
stop combinations could be changed at any time, even while playing. The eighteenth thumb stud was a preset sforzando combination for "full" organ. The stop tabs automatically moved on or off as combinations were recalled. The organ had 8
toe studs, six that duplicated combinations stored on thumb studs, one for the sforzando combination and the eighth was a Great-to-Pedal coupler.
+Another key feature of pipe organs is the ability to save combinations of multiple stop settings that are recalled by the performer with thumb studs under the manuals and toe studs above the pedals. On the Grand 100 there were eighteen
thumb studs. Seventeen studs stored different
combinations of stops that
could be recalled at any time simply by pressing a stud. The
stop combinations could be changed and stored
at any time, even while playing. The eighteenth thumb stud was a preset sforzando combination for "full" organ. The stop tabs automatically moved on or off as combinations were recalled. The organ had eight
toe studs, six that duplicated combinations stored on six of the
thumb studs, one for the sforzando combination and the eighth was a Great-to-Pedal coupler.
-To further improve the tone to make it even more like a pipe organ, the Grand 100 organ had _two_ tonewheel generators
to provide additional pitches up to the 26th harmonic. It also required _two_ tone cabinet and amplifiers to split the Great and Swell into separate channels.
+To further improve the tone,
to make it even more like a pipe organ, the Grand 100 organ had 144 tonewheels
to provide additional pitches up to the 26th harmonic. It also required _two_ tone cabinet and amplifiers to split the Great/Pedal
and Swell/Antiphonal and
into separate channels.
-The Grand 100 had a 32-note, concave and radiating pedal clavier exactly like the conventional AGO pedal clavier in use on all pipe organs. A 32-foot stop was Included in the pedal and
volume of the pedal was controlled by
the Great expression pedal. The pedal tone was fed into both the
Pedal and Great tone cabinets
.
+The Grand 100 had a 32-note, concave and radiating pedal clavier exactly like the conventional AGO pedal clavier in use on nearly
all American
pipe organs. A 32-foot stop was Included in the pedal. Three expression pedals controlled the
volume of the Great and
Pedal, Swell
and Antiphonal and Crescendo
.
