-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 drawbars, reverse
key presets, lack of couplers, etc. were simply too different for the performer than the typical
pipe stops, preset studs, couplers, etc. of a true pipe organ (ClassicalOrganistsDislikeMostHammonds). The G-100 was very large instrument instrument is truly a large organ in every sense
with sixty-five stop
-tabs. Fifty of these are speaking
stops,
divided into four tonal divisions as
-follows
: nine-teen for the SWELL organ; nine for the ANTIPHONAL organ, playable
-on the Swell manual; fourteen for
the GREAT organ; and eight for
the PEDAL
-organ
.
+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 (See the reasons why
ClassicalOrganistsDislikeMostHammonds). The G-100 was very large instrument 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)
+* Pedal 8 stops
+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
.
-The Hammond Grand 100,
with its fifty speaking stops, offers
the organist many
-beautiful solo voices without penalizing
the chorus ensembles
. Each of
the solo
-stops possesses its own distinctive tone
. In addition to these fine tones
,
-combination of other voices not specifically designed to carry
a melody will
-produce charming solo qualities,
as they do
on pipe organs
.
+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 combinations could be changed at any time
, even while playing. The eighteenth thumb stud was
a The stop tabs automatically moved on or off
as combinations were recalled. The organ had 8 toe studs, six duplicated thumb studs,
on was a preset sforzando piston was provided to recall "full" organ (i.e. all the stops on) and the eight was a Great-to-Pedal coupler
.
-The Hammond
Grand 100 organ provides
a mixture on each manual using pitches up
-are
separately derived - there is
-no borrowing from the mutation stops. This permits the organist to add
-brilliance at will to the full organ tone
.
+To further improve the tone to make it even more like a pipe organ, the
Grand 100 organ provided
a mixture on each manual using pitches up to the 26th harmonic
. The components of each mixture were
separately derived.
-Seventeen manual and general thumb combination pistons are located beneath the
-manual keys.
The combinations are made by
a hold-and-set visual combination
-action. As the organist sits at the console, he can set up whatever he desires
-on any piston, even change them during a recital. The stop tabs flick on and
-off so the organist knows by sight exactly what tone combination he is playing.
-
-A sforzando piston to instantly bring in the full organ is also provided.
-
-The
32-note, concave and radiating pedal-board of the Hammond Grand 100 is
--board
in use on all pipe organs. The eight
-different pedal voices combine to furnish a solid foundation to the manual
-tones.
Included in the pedal voices is a 32 ft. stop. Volume
of the pedal
-organ is
controlled by the Great expression pedal, and the
tone is
fed into both
-
-
-As an added convenience to the organist, the Hammond Grand 100 Organ has eight
-toe pistons. Six of theese pistons duplicate the six general thumb pistons, one
-is a sforzando piston which duplicates the thumb piston, and one Great-to-Pedal
-stop tab."
+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.
