Canadian Musician - July/August 2017 - Page 52

and John M. Hanert, the Hammond electric organ was first manufactured in the mid-1930s. Originally intended to provide churches with a smaller, less expensive alterna- tive to a pipe organ, it gained popularity with jazz players and, later, artists across a broad spectrum of popular genres. The B3 is the most iconic of these, produced from 1954 to 1974. Ultimately, the Suzuki Musical Instrument Corporation bought Hammond in 1985, but demand for the sound and unique interface has resulted in a variety of recre- ations from the likes of Suzuki, Korg, Roland, Nord, and multiple software developers. “The various models of Hammond organs reside appropriately in a large amount of music that I gravitate towards,” Hofmann says. “They complement musical arrangements of bands like Genesis, Pink Floyd, Super- tramp, and Yes, to name a few, exceptionally well. I re- member the first time I listened to Dark Side of the Moon and fell in love with the sound of the organ. The model used by Richard Wright during that album was an RT-3 series Hammond, which has the same internal compo- nents as the B3 series, except the bass pedals have a separate tube tone generation system. The Hammond organ can be viewed as one of the earliest synthesizers ever. Its unique design employing drawbars controlling tone wheels to stack sine waves, combined with the layer- ing of the Doppler effect from the Leslie cabinet, allows for a multitude of sonic possibilities. A great example of this organ complementing a song is Pink Floyd’s 'The Great Gig in the Sky.' The Leslie’s rotation speed is put to work, violently whirling during chaotic non-lexical vocals and slowing to a crawl during calm breaks. Its ability to rein- force dynamics is undeniable.” Hofmann uses a Nord Electro 2 rack for his Hammond recreations and a Nord Lead A1 as his MIDI controller. “The Electro 2 has fantastic control and depth of all the essen- tial parameters – drawbars, vibrato, percussion – a realistic Leslie simulation, and also has a series of built-in effects to further manipulate the sound. For example, to recreate the unique Hammond sound developed by Rick Wake- man in Yes’ 'Roundabout,' I add a phaser and flanger simultaneously, as was used on the original recording.” Going forward, Hofmann would like to see more equipment “that makes experimentation user-friendly; a large degree of control and accessibility is a must.” KAYLA DIAMOND Solo Korg SV-1 Stage Piano Native Instruments Kontakt Fender Rhodes Arguably two of the most popular makes of electro- acoustic pianos are the Wurlitzer and Fender Rhodes. The latter was invented by Harold Rhodes as an 52 • C A N A D I A N M U S I C I A N attempt to create pianos for soldiers recovering from WWII. Over time, the Rhodes has become iconic, a unique son- ic alternative to other electric pianos and used extensively by artists including Herbie Hancock. Kayla Diamond is a major fan. “One o 䁅ѥ)ٽɥє٥х剽ɑ̰́ݥѡЁՕѥ)I̸Iȁѡ͔ͽչ́ѡЁԁɐ)ٔݥѠݡԁݕɔչȰЁe)܁ݡЁЁ݅́ȁݡ䁥ЁѕԁՍ)݅QӊéѡÍȁt̸͡ͅq́)̰ͥЁݽձЁѡѥLA吰)Q̃LЁ݅́ٽѡЁх)ȁѥݡ$݅ͻeЁٕٔи$eЁɕ䁭)ݡЁѡյЁ݅́չѥɽչఁݡ$̴)ٕɕѡ́ͽaMd䁄)]]丁%Ё݅́ѕɥݸ)ݥѠЁÍٽЁ)䁕ٕɑȁѡЁݽձٔЁݕɔɕɑ)ѥQյхѥѡЁͽ)ɕͼՍ$Յɕɑٕ䁙)ͽa Ʌ䳊dݼɕЁٕͥѡMѕ݅Ʌ)ٕͥѡÍٕͥQɕݕ)ѡݼ݅́ѡЁݡ$啐ѡͽѡ)ͽЁЁՍɔձݥѠѡÍ)ѡЁѕٽȁѡЁȁͥɽչ)ɕͽ̸́ٔ$ѡݡЁɕ䁝Ё)́ѡЁəѱ䁥əЁͽչЁɕѕѡЁɔ)ɥЁͽհt)́ȁɸɕɕѥ胊qѥձȁэ$ٔ