Hammond M3

Hold the Start switch for about 8 seconds, keep it up with the Run switch for another 5 or so, then release the start switch. 25 seconds and a handful of drawbars later, you're in business. The hardest part is having to move the organ, since it weighs somewhere around 175 pounds. You'll want a good Leslie speaker to play the organ thru, since that's the biggest thing that will determine how easy it is to get the sound you want. The built-in 12" full range is pretty lame and underpowered (11 watts!) A model 47, 45, 147, or 145 are ideal since they have the 15" woofer and compression treble driver, but a model 25 or 125 with the single 12" and 20 watt power amp option will work, if you're really on a budget. The later tolex-covered solid state stage models like the 900 or 760 are nice if you're after sheer, clean volume, but they don't growl like the tube amps mentioned. I ended up with a 145 made from a former Wurlitzer 420 cabinet with Leslie parts.

I like the early Hammond M-spinets in particular because they're the only ones where the keys are just like the B3's waterfall keys. The others like the M-100 have those lousy "diving-board" keys which are not as rigid, and much harder to slide on. Expansion capabilities? Well ok: My M3 actually began life as a 1949 model "M". Same cabinet styling, but without selective vibrato and percussion. I "expanded" it by buying parts from a parted-out 1956 M3 that gave me the added features of the M3. I feel the later model (AO29)preamp cicuitry and the newer vibrato components made a big improvement in sound, and brought it closer to it's later model B3 brethren. Aftermarket companies can supply interfaces for effects (see below). Also, you can modify the manuals to "fold back", or repeat the top octaves for the higher pitched drawbars, like the B3/C3 style consoles do. This is the last mod on my to-do list. The model M2 can also be modded as such, but with fewer parts, since it already has the selective vibrato.

It's a genuine tonewheel Hammond, so if you're after one, you probably already know what it'll do, and/or what you want to do with it. It's also easy to get used to, if you're un-initiated. I use mine in a classic rock cover band playing out in small venues, but a Hammond is just as well suited for almost anything else you throw at it. Myself, I believe it sounds best as a backing for rock music. The only thing that really sucks about the M series is the composite 16' pedal drawbar, which sounds something akin to an asthmatic Tuba player; but I don't use the pedals on mine, anyway. Strangely enough, contrary to the original intentions of it's builder, the Hammond really sucks for most classical stuff, and that's coming from a classically trained organist. But then again, pipe organs don't really lend themselves to comping a background for rock 'n roll like a Hammond does.

It's only ever broken down once in two years, and even then I was able to coax it back to life to finish the gig. All it needed was a replacement run motor. I do keep one of my keyboards available as a backup at a gig, just incase. After all, it is 60 years old, and I haven't had it long enough to establish a good track record. I'm not too worried about it though; it's lasted this long.

The original Hammond company stopped making tonewheel organs in 1974-75. They closed their doors in 1985, after which the namesake changed hands a few times to end up with the current outfit, now known as Hammond-Suzuki. Unless you want a new reproduction Leslie speaker or a digital clonewheel, they aren't much help with these old dinosaurs. To name a few aftermarket parts companies, you can look to TrekII Products, BBorgan, Tonewheel General Hospital, and your local repairman, if you're lucky enough to have one. I'm technically savvy enough to where i've done all my own repairs and modifications, but since this isn't the case with everyone, it's good to befriend a technician, have a monetary reserve to pay one, or join a webgroup or forum where someone can tell you how to fix it.

If I ever needed to replace this, I wouldn't hesitate to snatch up another one; they're still quite plentiful in the used/want ads, and much cheaper and lighter than a full sized console like a B3 or C3. I've been playing Hammonds for about 22 years now, this is my fifth one, however it's my first spinet-sized one. I felt the M3 was the best compromise, considering weight, keyboard feel, price, and most importantly sound. I do miss having two 61 note manuals sometimes, but only until it's time to set up or tear down. I use the M3 more than my two keyboards, it's the core of my entire rig and the biggest ingredient of my sound.
I do wish it were in an even smaller, less clumsy package, so i'm building a roadcase based on the Porta-B's design to house only the manuals, tone generator, and most of the poweramp. This way it'll fit on my keyboard stand with the other two 'boards. The pedals will stay in my attic loft since I don't play them with the band, anyway.

I used a 1956 Hammond M3 professionally for over 20 years from one coast to another...used piano racks to move it, plus a leslie. (Also had a Fender Rhodes alongside...) At one time I even used two leslies, plus in a big hall, mike'd one of them for a little extra puch. This baby B3 has balls. Never had a problem with it...a little oil once a year and that was it! Never even blew a tube! (Dr. Hook and his band even used this organ when their truck full of instruments didn't show up for a concert in our area). Finally quit gigging about 20 years ago and parked it in a semi-van for storage. Mice got into it, and it was dirty as all heck when I finally pulled it out the other day for old times sake. Cleaned it off, blew the mouse stuff out, plugged it in and fired it up and in about 35 seconds the ol' M3 was cooking again. Made the mistake of pulling the tubes and wiping them off, plugged them back in and re-fired it and fried something in the amp. Rats....now I'll have to pull it apart and see what fried. Used to kick pedals in some two and three man gigs. Old trick was to reverse the sharp/flat pedals for easier moving the ol' foot. They just unbolt and you can turn them around. Case looks rough, but it will cook again after repairs.

no manual unfortunately. a little challenging because i have never worked one. but it sounds amazing!!!

smaller tone wheel then the B3, but sounds just like it!! same features too!!

greath for raggae, indy rock...

never let m e down, just needs a little oil once in a while...

n/a

10!

My favorite piece of equipment, and made in 1958, it's by far the oldest! Great "B3" sound and about 7000 dollars less! In fact, mine was free. My buddy's dad was trying to get rid of it and said that if I could haul away "that heap of junk" it was mine.

Easy to use, great vibrato and vibrato "chorus" which is great when you don't have the leslie around.

Great for progressive rock/jazz/blues. VERY expressive

Very dependable motor. At the time it's in the ol' garage, so on a cold day it can be a little difficult to start but after the tubes are warmed up it screams!

I might bring it in for a statiky pedal, but its a bitch to move around, and it's more of a "for fun" instrument than a gigging instrument.

It's a lot of fun. Great for jamming on and great Hammond sound. Get one ASAP!

As soon as you know what the drawbars do, you're set.

Almost all that you really need if you want something cheap that sounds good. Not enough bass range some might think.

Sounds great. "Baby B3" is an apt name. Classic hammond sound.

Its worked for me so far.

Company shut down in the 70's, but there are plenty of independent techs that'll work on it.

I like it very much! It's a 1959, and although it is one of the OLDest pieces of musical equipment I own, it is among the best sounding...

Once you learn how drawbars affect the sound everything else is strait-forward

The action is good, the effects are simple,no expansion possible, no midi.

It's got that Hammond sound and I am sure a Leslie with some distortion would make it better. I like the switch that has low and regular volume... It's kind of like having a power attenuator. You can set it on low and turn up the volume and get a good sound, even when others are sleeping. It is loud enough also for stage volume I would imagine, even though I can not ever imagine trucking it to shows (250 lbs). The one thing I have to mention to other keyboardists out there is something I have found out about the amout of keys on a board. For some reason I am starting to beleive that an all around main keyboard should have at least 76 keys. That way you get to use the low notes to. This is where this one lacks. If you want to play Deep Purple Bass Lines, Look for something maybe with more keys. I guess: more keys = more bass...And the piano/organ being an accompanyment instrument, you want to be able to get down! WHy would they not have made the lower board an octave lower than the top? Their philosophy seems to have been the permiator of futur creators. Who knows were the philosophy originates? You got the pedals down there playing two octaves lower, why not the lower keys one octave? I guess that's where the B3 came in for an extra 4000.00$. Things have changed very little huh!? Live and learn.

I'm sure the old thing will keep on ticking.

Maybe I will meet them one day. Not yet.

I would have went for more keys/ =more bass. And sometimes I suppose = more money...Depends what you play I guess...But I like the thunderous bass...That's what I like! What do you like?

The drawbars make the instrument! Infinite varriations of tone and sound are available. I added foldback to the upper manual to beef up the harmonics and make it sound more like my B3 at home. I also red-capped the generator and vibrato circuit using Geoff's kits; wow what a difference!!! I chopped mine to make it lighter to move and it has a custom back and B3 style legs out of matching mahogany; looks like a mini B3. I added a Trek II preamp with effects loop and use a Roland Oct-3 polyphonic bass pedal to add lower harmonics to the sound; very nice. I also modified the percussion circuit to have anything from a stock Hammond sound (pushed in) to a full blown Keith Emerson "clunk" using a 100k variable linear pot hooked to the old pedal drawbar. I also use the stock reverb switch to connect or disconnect (!!!) the voltage drop on the upper manual when using percussion for an extra "push" or pop on the sound; try it. A simple modification on the chorus resistor (76k) allowed more chorus and less "cheesy" vibrato through the tone. I use two Leslie 147s and a 125 on stage, the 125 is close to the console for monitoring. I don't like miking Leslies, I prefer it live and like to hear the speakers ramping up at different rates; hey, it's stereo right?!!

The M3 has a nice action, light but firm. No after touch obviously, but hey, that's what the Leslies are for! I've added a homebuilt two-tube overdrive unit wired inside the cabinet that's controlled by a rotary pot. The tube unit adds a nice, warm overdrive to the signal so I don't have to push my Leslies so hard to get that Purple or Steppenwolf sound. The pot is mounted next to the Trek II reverb knob under the front rail on the right. The Trek II reveb is very nice sounding and variable, better sounding than Hammond's.

Now I ask you, what keyboard is more expressive than a Hammond? The sound is just right in so many types of music. I have a Vox Super Continental and actually prefer to play the 17 minute In a Godda Vida on the Hammond instead of the Vox. When that overdriven growl begins to scream and come alive and the Leslies are ramping up it's a beautiful thing! And the style of music, uh let's see, it's got to be classic rock!!!

My M3 was built in 1959 and it's still going strong. Dependable? You bet! Hammond knew how to build and instrument to last. I rarely gig with just the Hammond because I need my synth boards for other sounds, but the Hammond has never failed to light up and perform perfectly. Once I forgot to lock the generator down before moving it and broke a wire off, but it was an easy fix. By the way, a chopped M3 still pushes about 120 pounds. Luckily the guitar player like the sound and doesn't mind helping.

There are parts out there to do practically anything you want to try to do with a Hammond. There are even wood kits available to repair the case or bench. I'm lucky to have a Hammond tech from the old school nearby to help out or just to answer a question. The M3 project I did on my own though. In fact, the Hammond guy didn't know you could change the mix of vibrato and chorus, he thought it was preset. Also, the Trek II preamp I installed was for B3s or C3s. The bottom line is don't be affraid to try something, the Hammond is a very forgiving instrument and easy to work on.

I've been playing keyboards since piano lessons at 8 years of age and rock for about the last twenty. If someone stole my Hammond and Leslies I don't know what I'd do to them if I found them. Obviously I have spent countless hours modifying mine to get the kind of sound I like. That kind of time and effort is hard to replace. I have my B3 at home, but enjoy the M3 every bit as much. By the way, my M3 was free. The old lady said it was broken and made no sound; she didn't know how to start a Hammond! When I got it home and started it the mechanism was so quiet that you couldn't hear the generator spin a foot away from it.

Fire up the generator, pull out a fist of bars and play. That's it. You can get a manual from Captain-foldback.com if you need one. Say hello to Harv for me.

Has notes as long as your arms, has percussion, different vibrato, limitless harmonic variations. Try that on your Yamaha or Roland. Also features irritating clicks and pops, distortions that you eventually learn to love. Oh yeah, one other thing: Every one sounds different.

Doesn't feature a Leslie, so starting searching now.

Nice classic Hammond sound for some things when linked up with a good Leslie. Forget the bottom end though - - it's not there.

Waaay over-engineered (weren't those the days, eh?) Oil it yearly, vacuum the dust every once in a while, lock down the generator when you move it and it will live longer than you do, especially if you try to move it without the right equipment. Find a Roll-or-Kari dolly system - - best investment ever. Then you really can easily gig with it. Otherwise, forget going on the road.

Uh... long gone. Who needs them. A couple of really excellent independent tech's here in Western Washington.

Well, here's the rub. M-3 are nice, and do a lot of things that a big console can. You can hold big chords, and do some solo stuff, but this first time you try to walk down a baseline or get some big bottom whomp, you'll pull your hair out. Pedals? Cheesy and weak. I tried loving my M-3's, I really did (and still have one that my son noodles with.) But being as they're almost as heavy as a CV or C2, and really not much cheaper, I think players should seriously consider trying to find one of these "2nd Tier" big Hammonds (behind the B3, C3, A-100 class), rather than limp along with the M's. It's just not the same. For me the M3's (I had two, plus an M2) were just a stepping stone to the big guys. Better than nothing, but likely to leave you frustrated.

Ease of use-10. It doesn't take long to find your way around this organ. It doesn't have presets, but it does have all of the basics.

It has it all. It has 8 drawbars for the bottom and 9 for the top. You can mix and match settings for a bunch of different sounds!
I love it. You can hook it to a leslie, or you can buy a "tap out" kit that allows you to use a 1/4 inch plug for a sound system

It roars like a B3 when you set it up right.
It is a "baby B3"... Beer budget/ Champagne taste sort of thing.
It has that special touch that clones just don't.
Slightly touch it and you get only a few drawbar settings. Push it down hard, and the other harmonies kick in...

The one I got had sat in a barn for 20 years. Some GENUINE hammond oil and a few Ebay tubes and I was off!!!!

well, sorry. When Laurens Hammond died, so did the company (early 70s)

How can you beat a free Hammond?
It's got THAT sound that no solid state clone can reproduce!!!!

I love gigging with my M3/145. One cable between the two and you're away. I'm at the bar smoking tabs whilst the rest of the band are linking up patch leads. I used to think it was heavy, but two people can haul this into a venue no problem. I've been up stairs, over turnstiles and across fields with this rig. I got lazy once and used a Korg CX3 and HK Rotosphere for gigs, which sounds good but found it took longer to load and set up than the m3/145

Basic and lovely for it. No tabs or presets. choice of vibratos, I only use one of them, usually have the same settings for each gig and adjust sound through drawbars

Sounds awesome at all levels.It's in the drawbars. With a little practice you can jump between that 'no woman no cry' backing to 'born to be wild' and stop off on the way for a quick 'whiter shade of pale'. You really do need a Leslie though, it doesn't sound like much without one.I built a couple of custom hot rod leslies, because I wanted the volume on stage, but however hard I tried with JBL's, EV's and various amps, tube and SS, I can't beat the original, so now I use the 145 with a couple of mikes through the PA. It does sound like a B3, but, those 44 keys do limit the high screams and low barks and woofs a little bit. I'd rather have an ABC console (to show off) but for my standard of playing and budget this M3 is the best.

99% of faults are easy to fix on a DIY basis. One evening on the internet and half an hour with a soldering iron and can of switch cleaner. I got mine checked out by graham sutton (UK)when I bought it and he did such a great job I've never had real problem since that i couldn't solve within minutes. I use it for gigs regularly without backup and it is stored in my rehearsal studio on the first floor so it gets a fair amount of knocking around. The Nice used one of the so they must be pretty tough

N/A loads of enthusiastic help out here if you care to look for it.

Lost or stolen? Hardly likely but yes I'd get another. Been playing organ 5 years since I got this, though I did have a BX3 and a CX3 a few years ago. Nice clones, but they don't breathe like a Hammond.
Got lots of other gear; (showing off again)5 Leslies, CX3, Roland piano, Strat, Tele, John Birch,Danelectro,Shobud steel guitar,Peavey and fender amps.