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Then in 1989, the name was purchased by the Suzuki Musical Instrument Corporation,[2] which rebranded the company as Hammond-Suzuki.[19] Although nominally a Japanese company, founder Manji Suzuki was a fan of the instrument and retained several former Hammond Organ Company staff for research and development,[68] and ensured that production would partially remain in the United States.[69] The new company produced their own brand of portable organs, including the XB-2, XB-3 and XB-5. Sound on Sound's Rod Spark, a longtime Hammond enthusiast, said these models were "a matter of taste, of course, but I don't think they're a patch on the old ones".[19] In 2002, Hammond-Suzuki launched the New B-3, a recreation of the original electromechanical instrument using contemporary electronics and a digital tonewheel simulator. The New B-3 is constructed to appear like the original B-3, and the designers attempted to retain the subtle nuances of the familiar B-3 sound. Hammond-Suzuki promotional material states that it would be difficult for even an experienced B-3 player to distinguish between the old and new B-3 organs. A review of the New B-3 by Hugh Robjohns called it "a true replica of an original B-3 ... in terms of the look and layout, and the actual sound."[17] The instrument project nearly stalled after a breakdown in negotiations between Japanese and United States staff, the latter of whom insisted on manufacturing the case in the United States and designing the organ to identical specifications to the original.[70]
The Hammond SK1 included emulations of electric pianos and other keyboard sounds in addition to organ. The company has since released the XK-3, a single-manual organ using the same digital tonewheel technology as the New B-3. The XK-3 is part of a modular system that allows an integrated lower manual and pedals to be added.[71] In response to some clones, including a variety of vintage keyboards in a single package, Hammond released the SK series of organs, which include grand piano, Rhodes piano, Wurlitzer electric piano, Hohner clavinet, and samples of wind and brass instruments alongside the standard drawbar and tonewheel emulation.[72] Keyboard magazine's Stephen Fortner praised the single manual SK1, indicated that it gave an accurate sound throughout the range of drawbar settings, and said the organ sound was "fat, warm, utterly authentic".[73] The XK-1c model was introduced in early 2014, which is simply an organ-only version of the SK1.[74] An updated flagship organ, the XK-5, was launched in 2016,[75] and a stage keyboard, the SK-X followed in 2019, which allows a player to select an individual instrument (organ, piano or synthesizer) for each manual.[76] In the US, Hammond manufactures a number of dedicated console organs, including the B-3mk2 and the C-3mk2, and the A-405, a Chapel Console Organ. The company has a dedicated Church Advisory Team that provides a consultancy, so churches can choose the most appropriate instrument.[77]

Speakers Tone cabinet The authorized loudspeaker enclosure to use with a console organ was the Hammond Tone Cabinet, which housed an external amplifier and speaker in a cabinet.[78] The cabinet carried a balanced mono signal along with the necessary mains power directly from the organ,[79] using a six-pin cable.[80] Spinet organs contained a built-in power amplifier and loudspeakers, so did not require a tone cabinet. The tone cabinet was originally the only method of adding reverberation to a Hammond organ; reverb was not fitted to older organs.[81] The most commercially successful tone cabinets were probably the PR series, particularly the 40-watt PR40.[82] Leslie speaker Main article: Leslie speaker Chord sequence MENU0:00 A simple chord sequence played on a Hammond organ through a Leslie speaker. Problems playing this file? See media help. A Leslie speaker with a transparent case Many players prefer to play the Hammond through a rotating speaker cabinet known, after several name changes, as a Leslie speaker, after its inventor Donald J. Leslie. The Leslie system is an integrated speaker/amplifier combination in which sound is emitted by a rotating horn over a stationary treble compression driver, and a rotating baffle beneath a stationary bass woofer. This creates a characteristic sound because of the constantly changing pitch shifts that result from the Doppler effect created by the moving sound sources.[83] The Leslie was originally designed to mimic the complex tones and constantly shifting sources of sound emanating from a large group of ranks in a pipe organ. The effect varies depending on the speed of the rotors, which can be toggled between fast (tremolo) and slow (chorale) using a console half-moon or pedal switch, with the most distinctive effect occurring as the speaker rotation speed changes. The most popular Leslies were the 122, which accepted a balanced signal suitable for console organs, and the 147, which accepted an unbalanced signal and could be used for spinet organs with a suitable adapter.[84] The Pro-Line series of Leslies which were made to be portable for gigging bands using solid-state amps were popular during the 1970s.[85] A "half-moon"-shaped switch for changing the speed of a Leslie speaker Leslie initially tried to sell his invention to Hammond, but Laurens Hammond was unimpressed and declined to purchase it. Hammond modified their interface connectors to be "Leslie-proof", but Leslie quickly engineered a workaround.[86] The Leslie company was sold to CBS in 1965[87] and was finally bought by Hammond in 1980. Hammond-Suzuki acquired the rights to Leslie in 1992;[2] the company currently markets a variety of speakers under this name.[71] As well as faithful reissues of the original 122 speaker, the company announced in 2013 that they would start manufacturing a standalone Leslie simulator in a stomp box.[88] Tone generation The tonewheel rotates beside an electromagnetic pickup. Although they are sometimes included in the category of electronic organs, the majority of Hammond organs are, strictly speaking, electric or electromechanical rather than electronic organs, because the sound is produced by moving parts rather than electronic oscillators.[17] The basic component sound of a Hammond organ comes from a tonewheel. Each one rotates in front of an electromagnetic pickup. The variation in the magnetic field induces a small alternating current at a particular frequency, which represents a signal similar to a sine wave. When a key is pressed on the organ, it completes a circuit of nine electrical switches, which are linked to the drawbars. The position of the drawbars, combined with the switches selected by the key pressed, determines which tonewheels are allowed to sound.[89][90][91] Every tonewheel is connected to a synchronous motor via a system of gears, which ensures that each note remains at a constant relative pitch to every other.[92] The combined signal from all depressed keys and pedals is fed through to the vibrato system, which is driven by a metal scanner. As the scanner rotates around a set of pickups, it changes the pitch of the overall sound slightly.[93] From here, the sound is sent to the main amplifier, and on to the audio speakers. Rare view of the tone wheels (underside of the generator) A prototype light-weight tonewheel generator, produced at the Hammond Organ Company's factory in Antwerp The Hammond organ makes technical compromises in the notes it generates. Rather than produce harmonics that are exact multiples of the fundamental as in equal temperament, it uses the nearest-available frequencies generated by the tonewheels.[16] The only guaranteed frequency for a Hammond's tuning is concert A at 440 Hz.[94] Crosstalk or "leakage" occurs when the instrument's magnetic pickups receive the signal from rotating metal tonewheels other than those selected by the organist. Hammond considered crosstalk a defect that required correcting, and in 1963 introduced a new level of resistor–capacitor filtering to greatly reduce this crosstalk, along with 50–60 Hz mains hum.[95] However, the sound of tonewheel crosstalk is now considered part of the signature of the Hammond organ, to the extent that modern digital clones explicitly emulate it.[17] Some Hammond organs have an audible pop or click when a key is pressed.[96] Originally, key click was considered a design defect and Hammond worked to eliminate or at least reduce it with equalization filters. However, many performers liked the percussive effect, and it has been accepted as part of the classic sound. Hammond research and development engineer Alan Young said, "the professionals who were playing popular music [liked] that the attack was so prominent. And they objected when it was eliminated."[97] Clones and emulation devices Main article: Clonewheel organ According to journalist Gordon Reid, the Korg CX-3 "came close to emulating the true depth and passion of a vintage Hammond."[98] The original Hammond organ was never designed to be transported regularly. A Hammond B-3 organ, bench, and pedalboard weighs 425 pounds (193 kg).[99] This weight, combined with that of a Leslie speaker, makes the instrument cumbersome and difficult to move between venues. This created a demand for a more portable and reliable way of generating the same sound. Electronic and digital keyboards that imitate the sound of the Hammond are referred to as "clonewheel organs".[100] The first attempts to electronically copy a Hammond appeared in the 1970s, including the Roland VK-1 and VK-9, the Yamaha YP45D, and the Crumar Organiser. The Korg CX-3 (single manual) and BX-3 (dual manual) were the first lightweight organs to produce a comparable sound to the original. Sound on Sound's Gordon Reid said that the CX-3 "came close to emulating the true depth and passion of a vintage Hammond," particularly when played through a Leslie speaker.[98] The Nord Electro emulated drawbars using buttons and a light-emitting diode display[101] The Roland VK-7, introduced in 1997, attempted to emulate the sound of a Hammond using digital signal processing technology.[102] An updated version, the VK-8, which appeared in 2002, also provided emulations of other vintage keyboards and provided a connector for a Leslie.[103] Clavia introduced the Nord Electro in 2001; this used buttons to emulate the physical action of pulling or pushing a drawbar, with an LED graph indicating its current state.[101] Clavia has released several updated versions of the Electro since then, and introduced the Nord Stage with the same technology. The Nord C2D was Clavia's first organ with real drawbars.[104] Diversi, founded by former Hammond-Suzuki sales representative Tom Tuson in 2003, specialises in Hammond clones, and has an endorsement from Joey DeFrancesco.[105] The Hammond organ has also been emulated in software. One prominent emulator is the Native Instruments B4 series, which has been praised for its attention to detail and choice of features. Emagic (now part of Apple) has also produced a software emulation, the EVB3. This has led to a Hammond organ module with all controls and features of the original instrument in the Logic Pro audio production suite.[106][107] Notable players See also: List of Hammond organ players and List of jazz organists Jimmy Smith's use of the Hammond organ in the 1950s gave him commercial success and influenced other notable organists Early customers of the Hammond included Albert Schweitzer, Henry Ford, Eleanor Roosevelt, and George Gershwin.[108] The instrument was not initially favored by classical organ purists, because the tones of two notes an octave apart were in exact synchronization, as opposed to the slight variation present on a pipe organ.[109] However, the instrument did gradually become popular with jazz players. One of the first performers to use the Hammond organ was Ethel Smith, who was known as the "first lady of the Hammond organ".[110] Fats Waller and Count Basie also started using the Hammond.[109] Organist John Medeski thinks the Hammond became "the poor man's big band", but because of that, it became more economical to book organ trios.[111] Jimmy Smith began to play Hammond regularly in the 1950s, particularly in his sessions for the Blue Note label between 1956 and 1963. He eschewed a bass player, and played all the bass parts himself using the pedals,[112] generally using a walking bassline on the pedals in combination with percussive left-hand chords. His trio format, composed of organ, guitar, and drums, became internationally famous following an appearance at the Newport Jazz Festival in 1957.[109] Medeski says musicians "were inspired when they heard Jimmy Smith's records."[113] "Brother" Jack McDuff switched from piano to Hammond in 1959, and toured regularly throughout the 1960s and 1970s.[114] In his Hammond playing, Keith Emerson sought partly to replicate the sound achieved by McDuff in his arrangement of "Rock Candy".[115] An admirer of Billy Preston's work also, particularly the 1965 instrumental "Billy's Bag", Emerson limited the use of Leslie because he felt that was Preston's domain at the time, whereas he himself was approaching the instrument with an aesthetic combining "a white European attitude", classical music, and rock.[116] "I took to riding the L100 like a bucking bronco. It weighs 350 lb; when it's on top of you, you need the adrenalin rush you get onstage to chuck it around." Keith Emerson[117] Booker T. Jones is cited as being the bridge from rhythm and blues to rock. British organist James Taylor said the Hammond "became popular [in the UK] when people such as Booker T. & the M.G.'s and artists on the Stax Records label came over to London and played gigs."[118] Matthew Fisher first encountered the Hammond in 1966, having heard the Small Faces' Ian McLagan playing one. When Fisher asked if he could play it, McLagan told him, "They're yelling out for Hammond players; why don't you go out and buy one for yourself?"[119] Fisher went on to play the organ lines on Procol Harum's "A Whiter Shade of Pale", which topped the UK charts in the summer of 1967.[120][121] Steve Winwood started his musical career with the Spencer Davis Group playing guitar and piano, but he switched to Hammond when he hired one to record "Gimme Some Lovin'".[122] Gregg Allman became interested in the Hammond after Mike Finnigan had introduced him to Jimmy Smith's music, and started to write material with it.[123] His brother Duane specifically requested he play the instrument when forming the Allman Brothers Band,[124] and he was presented with a brand new B-3 and Leslie 122RV upon joining. Allman recalls the instrument was cumbersome to transport, particularly on flights of stairs, which often required the whole band's assistance.[125] Author Frank Moriarty considers Allman's Hammond playing a vital ingredient of the band's sound.[126] Jon Lord put his Hammond C-3 through an overdriven Marshall stack to fit in with Deep Purple's hard rock sound. Deep Purple's Jon Lord became inspired to play the Hammond after hearing Jimmy Smith's "Walk on the Wild Side".[127] He modified his Hammond so it could be played through a Marshall stack to get a growling, overdriven sound,[128] which became known as his trademark and he is strongly identified with it.[129] This organ was later acquired by Joey DeFrancesco.[130] Van der Graaf Generator's Hugh Banton modified his Hammond E-100 extensively with customised electronics, including the ability to put effects such as distortion on one manual but not the other, and rewiring the motor. The modifications created, in Banton's own words, "unimaginable sonic chaos."[26] Joey DeFrancesco has achieved critical success in the jazz genre using both original tonewheel Hammonds and the "New B-3". The Hammond was a key instrument in progressive rock music. Author Edward Macan thinks this is because of its versatility, allowing both chords and lead lines to be played, and a choice between quiet and clean, and what Emerson described as a "tacky, aggressive, almost distorted, angry sound."[131] Emerson first found commercial success with the Nice, with whom he used and abused an L-100, putting knives in the instrument, setting fire to it, playing it upside down, or riding it across stage in the manner of a horse. He continued to play the instrument in this manner alongside other keyboards in Emerson, Lake and Palmer.[132] Other prominent Hammond organists

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