The Organ Forum

Hmm... I partially follow that... So, do you mean drop the trim on the preamp so it stops distorting in PR-40 (we don't know if the trim pot was messed with in the old Baptist church or not. However, we haven't replaced the valves in the AO-28.... who knows?), and then drive it AFTER that? With a leslie or even a geetar amp until we get the real thing?

On The recordings side,once we get this up and running, I intend to get some REALLY wild 70's hammond stuff going on record. What you'll hear on the link above has got the right vibe, but the Hammond, king of progressive Rock, takes a back seat cos it's only a synthetic fake.

Cheers!

---

1970 B.T. Wright
1959 C3
1975 T-500
1992 Korg 01W/fd
1994 G&L S-500

Basic basic questions here, so......

Have a L-102. (No Leslie)  Yesterday got a Trayner YBA-2B guitar amp .( Tubes & HAMMOND transformers)

Trayner might not be known to you Europeans, but it is a rather highly-regarded Canadian amp. Its  '70. 25 watt power - sine wave. 8 ohm.

 

Okay main question - 1/overdrive means pushing the envelope, right? So you cant have overdrive without playing the amp loud????

I want that growl from playing quiet/normal volume. Possible??

2/ whats the simplest set-up for me? Does one get (some semblance at least) of THE SOUND by just hooking up amp to organ -no distortion pedal , or whatever??? (I cant see how just hooking up an amp is going to give any distortion at all.)

 

Note: this is a GUITAR amp. (I think Lords Marshall stack were just guitar?)

Concerning keyboard VS guitar amps, this is what I found on internet:

-Key amps have greater range of freq response/greater dynamic range.

-Guitar amps are designed for mid-range frequencys THATS WHY IF YOU GO THE GUIT AMP ROUTE, ITS BEST (since hammond produces lower freqs than guitar) TO USE A BASS AMP (which this Traynor just so happens to be).

- Guitar output is much lower signal than Hammond, so with Hammond connected, pre-amp isnt necessary.

 

 

One guy writes that connecting guitar amp (instead of key amp) will not sound as good, will sound "honky"?????

 

the l-100 has a mono rca preamp output that goes to the swell pedal. run that signal to your amp, overdrive it if possible to do so without hurting your speakers, and you get a beast.

---

Hammond B3
Hammond L-112
Hammond R-124
Hammond H-112
Hammond M2
Hammond 123
Hammond HR-40 tone cabinet
torn apart Gulbransen
Leslie 147
Roland Juno-G
Alvarez 12-string acoustic
Peavey Raptor electric

By "overdrive it" you simply mean increase the ORGAN volume?  Or the AMP volume?

(Without amp, I futzed increasing the gain adjustment -to no avail)

 

Please remember Im wanting to acheive the overdrive sound AT QUIET VOLUME LEVEL. Can this be done at all without going into something complex like that Kon mod?

 

If I connect a (guitar) overdrive effect pedal in line before the amp input will I get the desired effect at lower volume?

On your last Q, we've just tried a few options with our C3 while the Amp is getting fixed. We were running it direct to the desk. A stompbox gave pleasant Jon Lord O/D BUT because it was made for guitar it supressed the BASS tones, so any stabs on the pedals for emphasis on clamactic points of a solo totally fail to cut thru! We ended up settling on a valve rackmount unit.... damned expensive idea though, if you ask me!

Cheers!

---

1970 B.T. Wright
1959 C3
1975 T-500
1992 Korg 01W/fd
1994 G&L S-500

And of course, overdrive can happen at preamplifier stage as an alternative to the amplifier stage, so loud volume isn't always necessary. Many guitar amps have pre-gain, so they will overdrive at lower volume but they will really SING at HIGHER VOLUME!

 Look up Eddie Van Halen, who put a step down thing between his amp head and the speaker... this meant he could really DRIVE the amp but not the speaker. Others merely use a really low wattage tube/valve amp which don't produce so much volume anyhow.

Higher wattage means more headroom, means more volume before driving at the amplifier stage.

The key is, you use whatever you can find without blowing your budget. The true spirit of the seventies was experimentation. You might go for a particular sound, but then you find something else cool along the way. Record it and show it off shamelessly to us! 

I know it's an addiction, but nobody's told me it's bad for me, yet.

Cheers!

---

1970 B.T. Wright
1959 C3
1975 T-500
1992 Korg 01W/fd
1994 G&L S-500

A few 70's prog bands heavy on the organ overdrive:

 

2066 And Then

 

Bram Stoker

 

Aardvark

 

L'Uovo di Colombo

 

Weed

I've been using a danelectro daddy-o on my chopped m3.  It's got an eq on it so you can bump up your mids and lows without boosting up your highs.  If you want to hear a really good organ tone, do a search for a band called Schleigho.  He uses a chopped L100 that looks like it survived Katrina...barely.  He gets a Keith Emerson sound in the context of dark jazz fusion. 

bumperoony

---

Hammond B3
Hammond L-112
Hammond R-124
Hammond H-112
Hammond M2
Hammond 123
Hammond HR-40 tone cabinet
torn apart Gulbransen
Leslie 147
Roland Juno-G
Alvarez 12-string acoustic
Peavey Raptor electric

Go to Hammond Zone and the "Specific Lineout " thread I started.

Kon has finally outlined the overdrive circuit  FOR THE L MODEL. (Previously  we only knew it for the G-G terminals of the Bs,As...) Its a very simple mod between two tube sockets in the power amp.

 

(I havent tried it out myself yet though)

Anyone ever swap out the 12AU7 for a 12AV7 in the 147/5 amp?

from my extremely limited knowledge you'd approximately double the  gain from that stage and maybe it'd drive the 6550's harder, or perhaps the tubes people swap those for that give better sounding overdrive. i might even experiment with 12at7 to an extent, but only with the ok of the local hammond repairman.  i can't wait to hear clips from kon's L100 mod. i hope to oneday use it on mine, and perhaps play my guitar through it too, and run the output straight to the leslie's crossover, and save the 147 amp some hell when i finally try to get that ken hensley sound without using my boss rt-20 pedal for its semi-suitable overdrive.

---

Hammond B3
Hammond L-112
Hammond R-124
Hammond H-112
Hammond M2
Hammond 123
Hammond HR-40 tone cabinet
torn apart Gulbransen
Leslie 147
Roland Juno-G
Alvarez 12-string acoustic
Peavey Raptor electric

Well I know that if you place a higher gain tube you'll be over-working the driver and woofer - and I know that driver especially can't take so much abuse because they're old and the diaphragm is brittle and delicate - so this is the concern with jumping the tubes. I'd use a 12V before i'd use a 12T...but it would be an interesting experiment.

Last night i had my first gig with my VK7 > L-100 amp > 145 setup and I was able to get distortion REALLY easily, in fact I had to be on my toes to get a clean sound most when needed. That all with a stock 12au7.

Wow, check out these guys:

http://www.myspace.com/bigorgantrio

He even shoves his B3 thru a wah pedal! 

 

---

1970 B.T. Wright
1959 C3
1975 T-500
1992 Korg 01W/fd
1994 G&L S-500

I've been running my A100 through a MS Pro3T, nice dial in overdrive.

 

But, I finally picked up a Leslie, a 45 in excellent condition. I'm guessing to get my overdrive back the best is to use Kon's circuit?

---

________________
Don
'59 A100
'62 Lowrey Festival FL
'62 Leslie 45
BX3 with Pro3T