User Manual
8'
16'
5
1
/3'
16' 8' 4'
2
2
/3'
2'
1
3
/5'1
1
/3'
1'
5
1
/3'
16' 8' 4'
2
2
/3'
2'
1
3
/5'1
1
/3'
1'
5
1
/3'
16' 8' 4'
2
2
/3'
2'
1
3
/5'1
1
/3'
1'
41
Setting Up
DRAWBARS FOR THE UPPER AND LOWER PARTS
e left white Drawbar represents the “fundamental” or “8´
base” tone. All of the other white Drawbars are octave intervals
or harmonics of the fundamental tone. e tonal brilliance is
greatly increased by adding white Drawbars, but the harmonics
added are always in “consonance” or harmony.
BLACK DRAWBARS
BROWN DRAWBARS
DRAWBARS TO USE ON THE PEDAL
e black Drawbars represent the “dissonant” harmonics which
are also necessary in building rich tone colors. e mellowness
of a horn, the pungency of strings, and the brilliance of reed
voices owe much of their character to the presence of these
harmonics in di erent degrees.
e two brown Drawbars on the far left give depth and richness
to the sound. e left 16´ is one octave lower than the 8´, and
5⅓ ´ is the third harmonic of the 16´ fundamental. Normally,
the tones are built on the 8’ fundamental, but, if you want to
add depth to the tone or to expand the playing range by one
octave lower, build your tones on the 16´ fundamental.
e two brown Drawbars located between the Drawbars for
the Upper and Lower parts control the sounds produced by the
Pedal part. e left Pedal Drawbar produces a composite tone
at 16´ pitch for a deep foundation bass, while the right Pedal
Drawbar produces a composite tone at 8´ pitch, or one octave
higher.
WHITE DRAWBARS
e Colors of the Drawbars are traditional to Hammond, and were established to
provide a quick visual guide to the harmonics generated by the Drawbars.