audiobriefs
8:55in productionCh. 1 · A B-3 with its own speakers/ 8:55 · ceiling 15 min
Keyboards & organs · Instruments

Hammond A-100

Hammond's 1959 console organ with its own amplifier and speakers built in, sold in a choice of styles and finishes.

The Hammond A-100 is a console tonewheel organ introduced in 1959. It is effectively a self-contained version of the B-3 and C-3, with an internal power amplifier and speakers, and it was built in many chassis styles identified by the last two digits of the model number.

Chapters & takeaways4
  1. 0:54
    A B-3 with its own speakers

    The A-100 arrived in 1959 as a self-contained version of the B-3 and C-3.

  2. 2:17
    What came from the B-3 and C-3

    The B-3 and C-3 design it carries mixes tonewheel harmonics with drawbars.

  3. 3:50
    Chassis by the last two digits

    The model number said which cabinet style and finish you were buying.

  4. 5:18
    The cheaper E-100 and what it cut

    In 1965 Hammond cut the drawbars and presets and changed the tone generator.

Worth your time?

Selectively. Start with the brief, then use the parts we point at.

3.5/ 5
What works
  • internal power amplifier and speakers
  • the B-3 and C-3 design as its basis
  • a choice of styles and finishes, set by the model number
What does not
  • need an external keyboard amplifier
  • offer the stripped-down drawbar and preset layout of the later E-100
Use it if
  • players who want a console-class Hammond with amplifier and speakers in one cabinet
  • anyone who cares which style and finish the organ comes in
Skip it if
  • players who want a console that feeds an external keyboard amplifier and speaker cabinet
  • anyone looking for a documented account of this model's own tone and faults
The written brief2 min read

What it is and what it was built for

Hammond introduced the A-100 series in 1959. It was effectively a self-contained version of the B-3 and C-3, with an internal power amplifier and speakers. That is the point of it: most console Hammonds had no built-in power amplifier or speakers, so they needed a special external keyboard amplifier and speaker cabinet. The A-100 put both inside the organ.

How it works, in terms a player would use

The B-3 and C-3 it was based on are tonewheel organs. Rotating metal wheels pass electromagnetic pickups, each assembly producing a tone close to a sine wave, and the player mixes those components with drawbars. Console Hammonds have two 61-note manuals and a pedalboard, with presets as reverse-coloured keys beside each manual. The B-3 and C-3 added harmonic percussion in 1954, a decaying second or third harmonic when a key is pressed.

What it does better than anything else

Its distinction is the packaging. A B-3 and C-3 design that carries its own amplifier and speakers is a different thing to place in a room than a console that needs outboard equipment.

What it does badly

No fault specific to the A-100 is on record. What is on record is what Hammond later removed: the E-100 series, a cost-reduced version of the A-100 introduced in 1965, had only one set of drawbars per manual, fewer presets and a slightly different tone generator.

What people made with it

No particular recording is tied to the A-100. The B-3 whose design it carries is the organ in Jimmy Smith’s playing, which inspired a generation of organists, and Hammond use spread into rhythm and blues, rock and reggae in the 1960s and 1970s.

Who should use it, and who should not

It suits a player who wants one cabinet with the sound system included, and who will choose by style and finish. The cabinet style was set by the last two digits of the model number: the A-105 had Tudor styling in light oak or walnut, the A-143 a warm cherry finish in Early American style. That numbering scheme was reused for later console and spinet series.

Is it worth your time

Selectively. It is worth it if a self-contained Hammond in a furniture cabinet is what you want. It is not the one to pick for a documented sound or a set of known strengths, because the record for this specific model is thin: a 1959 date, a self-contained design, a numbering scheme and a cheaper successor.

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7:56
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Yamaha YC-45DYamahaThe Yamaha YC-45D is a 1976–1980 hybrid organ-synthesizer. It combines drawbar organ, transistor organ, piano, harpsichord, distortion and a 3-octave ribbon synth. Its lateral per-note vibrato/bend is unmatched for its time. Its preset system is rudimentary. Its ribbon lacks visual pitch reference. Its emulations are shallow. It belongs in a room where articulation matters more than fidelity.
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8:56
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