1. Organ Drawbar Settings Pdf
2. Basic Drawbar Settings To Remember
3. Drawbar Settings Handbook Of North Carolina

I just bought an XK-1. It came yesterday, and I have to use it tomorrow night.Due to work schedule, I will have only about 1 or 2 hours max to check out the keyboard before the gig.The other guys know the situation but really like the sound and told me to just do my best under the circumstances.Because of the time issue, but also because I think it's a good question anyway, I was wondering if anyone who had one of these knew of some good sounding presets or manual drawbar settings, etc. I should use for our mostly blues band. Or, anything to really avoid.I'm sure that, as I discover the features and sounds, I will learn a lot hands on, but I appreciate your help in advance!PaulKC IslandRe: Hammond Drawbar Settings05/01/09 12:31 AM. All the setting mentioned above are great ones.

Assuming you have never used drawbars before, you may have trouble dialing in some of the more complicated ones on the fly your first time.Taking the question back to what was originally asked ('quickly get me started'), I think a combination of matestubb and Joe will get you going.Start with the bottom three out:888000000 - use this as your goto sound.To change the sound slightly, start adding drawbars.Personally, I wouldn't move the bottom three until you understand volume changes that it will create on your sound. (reducing the 2nd drawbar reduces the volume quite a bit (or at least the cutthroughability)).Start moving the upper drawbars and work torwards: 888888888.At any point that you get stuck, drop back to 888000000. Two things:1- the bottom drawbar is your subharmonic, and the bar next to it is your fundamental;And for soft accompaniment, I like to use what I call 'The Whistler'. That comes in very handy for a lot of verse/vocal things where you don't want to overpower, but don't want totally drop out either.And later, after you have a chance to sit and program with the XK1, you can program a little delay into that sound instead of reverb. Use about 500/550 ms of delay with 2-4 repeats, and that's a sweet sound. And then when things build to the chorus, just pull out the bottom 2 bars and you've got a nice pad going.

88 80000 000 is a good starting point for hard blues and rock, and also a lot of ELP.88 88000 000 brightens the previous one up a little, for similar uses.For both of these, I find dropping the 16' a bit helps it to sound cleaner and punch better on my system: too much bass interferes. Perhaps that's because I'm using 12' drivers.For both of these, and in general, the 2nd drawbar from the left adds 'honk'. Push that back in for a mellower tone. It's really significant.Greg Allman likes to use the above with one of the higher drawbars pulled out a bit to add a little sweetness and bite. It's a quick and easy experiment; try it!I find that V shapes with high and low drabars on full, middle ones missing, with leslie on, are great for swing. I move the bottom of the V up and down (higher or lower drawbars) depending on where on the keyboard I want the sweet spot to be.

It's a pretty easy setting to pull up quickly by hand, and precision isn't necessarily required.For example:88 6 420246 88One of these sounds better when I'm mostly riding the top octave, whereas the other is better when mostly riding an octave lower.For the pure, flutey tones, LEAVE OUT the 4' drawbar, which makes it honk. Stick to mostly 16' plus white drawbars, adding brown ones near the top for spice. For example:80 00040 04 - one of my favorites, sweetening the band's sound while leaving lots of space for guitars.As always, adjust the high ones to taste, because every system (and every room) is different.A Gospel favorite is to omit the 16' and use little or no 5', playing an octave lower. This shifts the harmonics and gives a whole new set of possibilities (but effectively losing what the top two drawbars used to do). For example:00 8844x xx, fiddling the x's to taste, often just one of them, and usually not too much.88 88888 88 seems to happen a lot at crescendos, oddly enough!HTHRe: Hammond Drawbar Settings05/01/09 11:45 AM. Two things:1- the bottom drawbar is your subharmonic, and the bar next to it is your fundamental;I don't think you said what you meant.16' is the subharmonic.The next one is 5 1/3, which logically should be the 3rd bar, but because of the way it thickens the tone, it's placed below the 8'.The next one is 8', which is the fundamental.However, for many of the popular 88 8xxxx xx settings, the 16' is the predominant tone and used musically as the fundamental, even though it's not. Above I mentioned the gospel setting as a harmonic shift, but from the theoretical standpoint, this common usage of the 16' as the fundamental is really the 'shifted' one.I also mentioned that the 2nd drawbar adds honk.

If you use the 8' as your 'pseudo-fundamental', the effect of this drawbar changes dramatically and acts as more of a thickener - but still does add honk (maybe even more so). This is how the drawbars were really intended to be used. But, as usual, blues and rock musicians tend to take advantage what wasn't intended, and diggin' it. (Keyclick is another good example of this.). And for soft accompaniment, I like to use what I call 'The Whistler'. Sivakasi crackers price list 2013.

That comes in very handy for a lot of verse/vocal things where you don't want to overpower, but don't want totally drop out either.I use 80 00040 04 for this, but you've piqued my imagination, and I plan to give it a serious try. In theory, it should be the same as 80 00000 00 (but an octave higher), so I haven't tried it in decades. But all tonewheels don't sound the same! Thanks for opening my mind to possibilities I'd discounted.Re: Hammond Drawbar Settings05/01/09 12:03 PM. Agreed with all here on 888000000 but I have started doing a little differently. On the advice here of B3er now it's an 867000000.

Small changes can make a great differenceAnother thing that will quickly annoy you if you forget is the percussion. Maybe personal taste but I don't comp with percussion much. Do it for a while and you'll see why.Have fun!!PeteThe main problem I have with so many of the rompler Hammond sounds is they'll put the percussion in there that plays on every note, which is like fingernails on a chalkboard to me.

A festival gig I just played had a supplied Roland. Nice board, but I hated the primary organ sound for that very reason. The guy that supplied the backline for the festival was a guitar player, not a keyboardist. He came to me extremely proud of himself because he found a board with a 'Killer Hammond Sound.' Didn't have the heart to tell him IMHO the organ sound was unusable.

Organ Drawbar Settings Pdf

The piano and EP were sweet, but the organ really sucked.The true Hammond percussion only fires on the first note. If you hold down the note, none of the following notes has any percussion.I use the percussion very sparingly, and pretty much never when comping. In other words, you got drawbars, right? Push and pull on them until it sounds good.Thanks for the great responses so far.

Basic Drawbar Settings To Remember

I grew up with a Hammond organ (60s). This model does have drawbars, a single set. It's not the top of the line but very nice in itself.The great push-pull advice is very cosmic, but because of the time issue I didn't think it best to experiment while playing!There are a lot of great tips on this thread that will be useful to hopefully others also.Re: Hammond Drawbar Settings05/01/09 02:36 PM. Awesome Hammond registrations:5883032 7644263 8878415 5182152 8260664 5218276 5544132 4738558 5756310 6635233 1246325 4118780 7861814 2436757 5556140 3574785 1885263 2547644 6087483 2248151 3552523 4038787 7311613 3538346 8671083 5763624 2323602 00646743Re: Hammond Drawbar Settings05/01/09 03:36 PM. I don't know - thinking of them as 'presets' in any way defeats the whole purpose of drawbars.

888000000 is going to sound vastly different from room to room or even in the same room when the number of people in the audience changes. What's happening in the song - even verse to chorus to bridge - enters another set of variables. Moving air into a dynamic space is as chaotic as weather - and just about as predictable.I never look at the drawbars when I'm playing.

Drawbar Settings Handbook Of North Carolina

I suppose that I have muscle memory of drawbar shapes that I use as a starting point for refinement - but I never think in terms of nine numbers. What are you going to trust - your ears or your eyes? I don't know - thinking of them as 'presets' in any way defeats the whole purpose of drawbars. 888000000 is going to sound vastly different from room to room or even in the same room when the number of people in the audience changes. What's happening in the song - even verse to chorus to bridge - enters another set of variables. Moving air into a dynamic space is as chaotic as weather - and just about as predictable.I never look at the drawbars when I'm playing. I suppose that I have muscle memory of drawbar shapes that I use as a starting point for refinement - but I never think in terms of nine numbers.

What are you going to trust - your ears or your eyes?I am kind of the same way. I like Art Neville and Chester Thompson’s settings.

They have a gospel feel to them. 888000000 or 88880000 is really harsh for a lot of music I think. I don't know - thinking of them as 'presets' in any way defeats the whole purpose of drawbars. 888000000 is going to sound vastly different from room to room or even in the same room when the number of people in the audience changes. What's happening in the song - even verse to chorus to bridge - enters another set of variables. Moving air into a dynamic space is as chaotic as weather - and just about as predictable.I never look at the drawbars when I'm playing. I suppose that I have muscle memory of drawbar shapes that I use as a starting point for refinement - but I never think in terms of nine numbers.

What are you going to trust - your ears or your eyes?I am kind of the same way. I like Art Neville and Chester Thompson’s settings. They have a gospel feel to them. 888000000 or 88880000 is really harsh for a lot of music I think.The only time I ever think of them as numbers is in discussion. I'm like you, I think more along the lines of shapes. I have certain shapes that are the starting point, but as JC pointed out, different situations give different sounds, so I adjust the shape to what I want to hear at that particular time.My XB-2 has presets, but I've never used them.