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Now that I have a true Leslie, the Hamichord becomes a true instrument with solid bass tones and honey mellow tones. Since the volume is remarkable (and I have it set on 20 watts instead of the 80 watts setting) I am playing it at bare minimum volume. As such the drive pot is having no effect: I imagine that true power saturation only comes with actual volume.
Interestingly, I tried it with guitar without an extra preamp (guitar into true leslies require an extra pre amp) and had the volume at full to get a decent volume. Saturated distortion came in a little then. In any case, the guitar sounded great, although a leslie 16 is the better choice (I prefer the ramping when switching from Fast to off: it takes forever, just like the woofer rotation on a leslie 122, and is therefore more audible).
The Tornado was made by the GOTO man for hammond and leslies in Italy: a portable version of a 122/145.
Highly recommend it, and what a difference to the GAS of a guitar: every sound I could ever need from a hammond is already intrinsic to the instrument.
Maybe ten years ago I visited someone who lived in a small terrace house. His father was a TV repair man who used to earn his living as the resident organist at the local working men’s club. He’d kept the Hammond Organ and Leslie from the club and they were in ( and pretty much filled) the front room of this tiny house. It took a while ( 5 minutes?) for everything to work and warm up and you were enveloped in this amazing sound.
Have I lost sight of what is too cool for school and become a fan of Hammond does Pop classics? I believe so. I caught myself the other day considering tunes from the 21st century that could make it onto one of those Hammond Pop Tunes LPs of old.
I'll get my scented candles out then.
and they are loud loud loud. But glorious.
True Hammond B3/C3/A100 is again another minefield with its own set of significant problems. The hammond clone market is reaching the standard expected from a true vintage Hammond, making it finally reasonable to own and play one.
Most importantly, it's such a relief to have an instrument that doesn't require extras; guitars and keyboards are a never ending quest for new tones whether by changing instrument, pedals, amps, plug ins, software.
When a hammond clone authentically copies a true hammond (I believe we're there), there will be no more need to buy extras nor improve on the instrument. One aspect that is financially prohibitive on Hammond clone production is that each key has nine connections, each one progressively releasing the different drawbars (from high to low). The new Hammond XK5 includes 3 contacts on each key as well as a valve to warm the tone. Expensive, though.