HammondWiki - Diff: KeyClick

Differences between version 9 and revision by previous author of KeyClick.

Other diffs: Previous Major Revision, Previous Revision

Newer page: version 9 Last edited on September 14, 2022 8:10 am. by 2001:470:e812:8001:7102:7d4d:f540:f8cf
Older page: version 8 Last edited on September 13, 2022 11:13 pm. by ChrisSanders
@@ -1,6 +1,7 @@
 !!!Key Click 
-_ Excerpted from the OriginalHammondLeslieFaq._  
+  
+!! Excerpted from the OriginalHammondLeslieFaq. 
  
 The sound produced by early HammondOrgans differed from pipe organs in one characteristic way. There was an attack transient that sounded like a click or pop when a key was pressed. This was considered a defect and was caused by the audio signal being routed directly through the key contacts. As a key was depressed, the nine contacts under the key closed against their respective busbars at slightly different times and ''bounced'' as they closed. The sine waves from the constantly running generators would be connected at random points in their oscillation. 
  
 Considerable design efforts were made to reduce it but it could never be eliminated. In the patent, key click was to be removed by a ''bypass''. In later console organs like the B3, the higher harmonics were pre-emphasized and the preamp designed with an upper frequency roll-off to help conceal the click. 
@@ -11,9 +12,9 @@
  
  
  
  
-_ Additional info from KonZissis: 
+!! Additional info from KonZissis: 
  
 Whilst dirty key contacts or busbars and also deteriorated grounding connections can enhance the key click, the key click is always present even with perfectly functioning and clean key contacts and busbars and perfect grounding connections so therefore Laurens Hammond and the subsequent Hammond designers tried to suppress the key click sound right from the start in 1935 until the end of Hammond tonewheel production in 1975. 
  
 Hammond reduced the key click by calibrating the tonewheel generator to have the "pre-emphasis" in the midrange and the treble TG notes which meant that the midrange and the treble TG notes were set to have a progressively upward rising output curve in their output levels. 

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