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Hammond Mini-B Console Organ with Leslie 981SE
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Hammond Mini-B with Leslie 981SE
The look and feel of the mighty mighty B-3 is now available for every Church, Chapel, School, Stage, and Home. The Hammond “Mini-B” carries on the legend, offering the sound and response that has made music a grander place. No matter what style of music you play, no matter the denomination of your church, the Mini-B plays like tradition, sounds like tradition, and now, looks like tradition. The Mini-B is bundled with a special edition 300 watt Leslie model 981SE, built especially for the Mini-B which puts the power that you have come to expect at your fingertips. If you have to “go mobile”, no worries! The “heart” of the Mini-B, the single-manual XK-3c, slides directly out of the back with no tools in 5 minutes, and slides right back in when you come “off the road”. Unlike the traditional XK-system, the Mini-B is shipped completely assembled from the factory with 25 note pedalboard and matching bench. At a price that makes it affordable for everyone, you too can have a genuine brand new Hammond and Leslie with a comprehensive factory Warranty, and all the confidence that only a brand new organ can bring.
Laurens Hammond’s original Organ (invented in 1935) had an intricate electro-mechanical mechanism that used 96 Quarter-sized wheels spinning on driveshafts powered by his patented synchronous motor. The wheels were notched according to pitch, and an electromagnetic pickup (much like that on an Electric Guitar) sensed those notches and rendered a musical note. The Drawbars combined those harmonic tones to produce the inimitable Hammond Organ sound.
Hammond’s adherence to quality has allowed many vintage instruments to remain vital today, and are among the most desired and imitated musical instruments ever, but at a high cost. The Electromechanical Hammonds require expensive maintenance, regular doses of oil, and were of great weight; not easy to move at all.
The Xk-3c’s VASE III “Engine” uses the exact model of Laurens Hammond’s design, executing it in the digital realm, with no moving parts, retaining all of the nuances, imperfections and idiosyncrasies of the original. The wheels are always “spinning”. When a note is played, the tones pass, just as water through a faucet. The random starts of each wave played allow for phase interaction, producing the rich tone so prized in the vintage Hammonds.
The Digital realization of Laurens Hammond’s System allows sophisticated control of every facet. Each Digital Tonewheel can be voiced for Volume, Timbre, Motor Noise and Leakage; enabling the musician to tailor the Modern Hammond to match the characteristics of any Vintage Hammond, or to create their own vision. Twelve Macro Profiles allow the user to quickly select the most popular “kinds” of Hammond, from Showroom-New to Road-Worn Antique and all points between.
The Tonewheel Generator wasn’t the only great invention of Laurens Hammond, and no Hammond Organ would be complete without the full spectrum of ingredients that comprised Mr. Hammond’s genius design.
Mr. Hammond used the Pipe Organ Design concept of “Unification” in creating the iconic Drawbars of his Electronic Organ. This concept allowed one or more keyboards to control the pitches of many pipes within one set or “rank” of pipes. Adopting the harmonic standards and nomenclature of the Pipe Organ, Mr. Hammond’s design assured that any organist would be able to play his instrument without a steep learning curve. Unlike the Pipe Organ, Mr Hammond’s design allowed variable volumes of each Harmonic represented by each drawbar. This variation gave the musician millions of combinations of harmonics, and assured that every Hammond player would be able to summon a unique voice. An extra level to the expression a Hammond Organist had at their fingertips was added because the Drawbars could be manipulated in real time. The Sk Series features real drawbars in the size, shape and configuration of Vintage Hammonds. The Drawbars also serve the Combo and Pipe Organ divisions, but with a slightly different function.
One of the most distinctive parts of the Hammond sound is the shimmering “Chorus Vibrato”. It adds a silken quality to the sound by adding a second, slightly detuned pitch to the original in the Chorus Mode, and repeat-modulating the pitch slightly in Vibrato mode. Few musicians realize the Chorus effect pedal widely used for Guitars and Electric Pianos had its genesis as a component of the Hammond Organ. Mr. Hammond’s original design used an electromechanical apparatus that looked much like the distributors you would find in the automobiles of the day, and ran off the same synchronous motor that powered the Tonewheel Generator. The Sk’s Chorus-Vibrato is executed in the Digital Realm, without moving parts, and works under the same model. The classic V1/V2/V3/C1/C2/C3 controls are familiar to anyone who has ever played a Hammond. As with the Tonewheel Generator, Digital control allows a wide range of adjustment that was simply not possible on the original. As the Antique organs aged, the components acquired their own unique qualities. Digital control allows the user to shape the Chorus/Vibrato’s various facets, with the added ability to “age” the effect-with the resulting treble emphasis and subtle distortion that marks the organs that develop this patina as “sweeter” than others.
The chief feature of the Hammond B-3 upon its release in 1955 was the inclusion of Touch-Response Percussion™ (Perc). This effect added a high “attack” to the Organ tone at either the octave or the twelfth, with a fast note decay. This sound was reminiscent of an xylophone or clave, and became immensely popular, immediately. Perc gave the Organ a bright highlight, and every generation of music has embraced this sound. Controls for the Perc have the classic nomenclature, familiar to anyone who has ever played a Hammond. On the Sk series, Perc is executed in the Digital realm, allowing a wide range of controls the organists back in the day did not possess. The 1′ drawbar muting, characteristic of the Vintage Organs can be defeated, as can the drop in Drawbar volume level that accompanied the engaging of the Percussion voice. You can control the volumes and decay times as well.
In order that every key (and pedal) of the Laurens Hammond’s Organ could access every Tonewheel as predicated by the Drawbar settings, an electro-mechanical apparatus lurked behind the keyboards, with 9 contacts corresponding to each drawbar for that keyboard and a series of contacts attached to each key. As a key was depressed, the contacts sequentially touched, and the circuits were completed to produce the Organ tone that was registered by the Drawbars. The very nature of Electric circuitry dictated a click could be heard at the top of each note played when the current-carrying key contacts touched. Laurens Hammond considered that click to be a nuisance, and worked to no avail in order to rid his organ of that imperfection. The jazz players who embraced the Hammond Organ, however, found the click to be a percussive highlight, and wanted nothing to do with its eradication. To make matters worse, as the Vintage Hammonds aged, the click became more pronounced, and by the Rock and Roll era, the Key Click assumed a role of importance that Laurens Hammond could never imagine. The Sk series allows you to adjust the intensity of the key ON click, and the key OFF click. The timbre of the click may also be adjusted. Mr. Hammond would have greatly approved of the Sk, as you can turn the click all the way off if you desire, creating a Vintage Hammond Organ that could not exist in the physical world.
THE “TONE” CONTROL:
The inclusion of this obscure feature demonstrates the commitment to authenticity Hammond has brought to the Sk Series. Inside the Vintage Hammond B-3, on one side of the tube preamp, there was a “Screwdriver Pot” with the engraved legend “Tone”. This control was adjusted by the Technician installing the organ in order to tame the treble response in the instance of the organ’s installation in a Church or Mortuary, where a more muted organ was desired. The control was a cocktail of upper Mid and High frequencies (the proportions of which were, until recently, held secret. The “Tone” control was basically a “hi cut” control and only went “down”. You could not direct the control to go “up” for “boost”. The TONE control is included in the Sk’s menu with the added benefit of being able to BOOST the unique blend of frequencies, which adds a nice “edge” to the Sk tone, if desired.
Chicago Engineer/Inventor Don Leslie bought a Hammond Organ not long after its introduction in 1935, but felt the instrument lacked the warmth of the Mighty Theatre Pipe Organs he so loved. The main difference between Church Pipe Organs and Theatre Organs was the deep Tremulant that took the edge off the Theatre Organ’s pipes and made them emotionally “sob”. Making use of an acoustic phenomenon called the “Doppler Effect”, Mr. Leslie constructed a speaker cabinet that used a simple system of rotating horns and baffles to give the Hammond tone “motion” and “depth”. This created a different instrument altogether, one that could play “Popular” music. Mr. Hammond intended his organ for the Church and Classical Music, looking at “Popular” Music with disdain-he wanted nothing to do with Mr. Leslie’s invention when Mr. Leslie demonstrated it. The public however, took the combination of Hammond and Leslie to heart, and so it remains to this very day. It is difficult to think of one without the other, although Mr. Hammond never allowed Hammond Dealers to sell Leslie Speakers. After Mr. Hammond’s death, the two companies became partners, and now Hammond owns and manufactures Leslie Speakers. For both Hammond and Leslie, the golden goal was to produce a Leslie that did not require motor-driven speakers, and the goal has been reached in the Sk series, with the finest Digital Leslie we have ever produced. Now the elusive effect can be had where space and mobility have heretofore denied it. As an added benefit to being produced in the Digital realm, many aspects of the effect can be adjusted and tailored to ones own taste and requirement. Slow and Fast Rotor speeds, “Ramp Up” and “Ramp Down” speeds, Speaker Size, Amp type, Virtual Mic Placement and other parameters may be combined into “Cabinet” Macros which then may be assigned to any Organ Preset. In addition, 8 factory Cabinets, comprising the most popular Leslie Models like the 122, 147, 760, Vintage 31-H, and others are available for instant choice. There is even a model of the original PR-40 (Non-Rotating) Hammond Factory Tone Cabinet. A button on the Control Panel allows the bypass of the Digital Leslie circuit and sends the Organ tones directly to the Stereo Outputs
GENUINE AND AUTHENTIC HAMMOND ORGAN
Authentic Chorus-Vibrato/Touch Response Percussion
12 HAMMOND MACRO PROFILES with 17 TWEAKABLE PARAMETERS
96 INDIVIDUALLY Adjustable, Voiceable Digital Tonewheels
Create YOUR Perfect “B-3” From Showroom New to Road Worn Vintage
7 LESLIE MACRO PROFILES:
Type 31H (or “TallBoy”-the first Leslie Speaker released in 1941)
Type 722 (Mid 70’s “Home Organ” Model)
Type 760 (Late 70’s Solid State “Combo” Model)
Type 825 (1970’s Solid State Single Rotor Model)
ROCK TYPE (Early 70’s Model 925 High-Power “Combo” Model)
17 TWEAKABLE LESLIE PARAMETERS
Create YOUR Perfect Leslie-Store it in any of 8 User Profiles
COMBINE THE HAMMOND ORGAN OF YOUR CHOICE WITH THE LESLIE OF YOUR CHOICE TO COMPLETE YOUR DREAM RIG!
1000’s of Combinations Possible
ONE OCTAVE OF B-3 STYLE REVERSE COLOR, UNLATCHING B-3-Style PRESETS, with 8 Banks containing 9 presets. (A# and B♮ call the current drawbar settings)
TWIN REAL TUBE PREAMP provides warmth and overdrive characteristics
Comprehensive MIDI Controller functions with 6 external zones (3 Upper
Keyboard/2 Lower Keyboard and Pedal) Dedicated Switch and Rotary
Control for each.
A 3-band EQ is available with Shelf Lo and Hi with sweepable Mid control.
“The Mini-B has 8 banks of 9 presets each, controlled by traditional “Reverse Color” Preset keys at the lower end of each manual. The entire Mini-B setup may be saved to a common CF Flash card for backup or restoration”
6 external MIDI zones may be controlled by the Mini-B, with all settings saved as a preset. You can play these external zones with or without the Mini-B voices sounding. A Programmable Rotary control and switch are available for each Zone. A pair of performance controls (Pitch-Bend and Mod) reside to the left of the Keyboard.
Red Walnut w/ Maple Veneer
48″(W) x 26 3/4″(D) x 38 1/8″(H)
320 lbs (Including Pedal and Bench)