The two pre-set keys at the extreme right, A# and B, are really switch
keys. when A# is depressed the organ speaks with whatever tone Colour
is set up on the left one of the two harmonic controllers for that manual.
When B is depressed the organ speaks according to the right hand con-
troller for that manual.
The intervening pre-set keys, C# to A inclusive, are each associated with
a different ready-mixed tone quality set up before the organ is installed.
These keys correspond to the pistons on a pipe organ. They are generally
useful tone qualities. The artist may, however, substitute any other
pre-set quality he prefers for any or all of them by a simple method fully
explained in the operating instructions.
The tone of the organ is changed from one quality to another while playing,
merely by depressing another pre-set key.
The two manuals are really duplicates of each other, each having its own
pre-set keys and two harmonic controllers.
It should be clear from the above that, before playing, the organist must
first depress one of the pre-set keys associated with the manual on which
he is about to play.
THE PRE-SET PISTONS , Model E Console (Figure la)
On the Model E Console, small pistons (numbered 0 to 11) are employed,
instead of the reverse colour keys. A label against each piston indicates
the tone quality associated with it. The piston marked "0" is the cancel
key and Nos. 10 and 11 are available for any tone qualities that may
appeal to the organist by manipulation of the drawbars as explained
below.
THE HARMONIC CONTROLLER (Figure 2).
The Harmonic Controller is the device by which the artist is enabled to
mix the fundamental and any or all of 8 different harmonics in various
proportions. It consists of 9 drawbars. The third drawbar from the
left controls the fundamental. Each of the other drawbars controls a
separate harmonic as shown on the diagram. Each drawbar may be set
at any one of 9 different positions. If pushed all the way in, against
the console, the element it represents is not present in the mixture. It
may be drawn out to 8 different positions. These are marked on the
drawbar and may be read by the artist. Each position represents a different
degree of intensity of the element it controls. When drawn out to position
1, the element it represents will be present in the mixture with minimum
intensity, when drawn out to position 2, with greater intensity, and so on,
up to position 8.
A tone colour is logged by noting the numerical position of the various
drawbars. For instance, the tone set up in the diagram (Figure 2) is known
as tone 23,6444,222. After a tone is so logged it may be made available
again by setting up the harmonic controller to that number.
TONE FAMILIES.
In order to make full use of the Hammond method of tone composition,
the artist should understand the general characteristics of the various
tone families.
The four principal families of organ tones are Flute, Diapason, String
and Reed.
Page Seven
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