What's the "Stereo Reverb" set-up on a M-100 vs a "Regular" Fender style reverb?

[Guest]

I'm currently "collecting" (finding $50 ) M100's (3). My wife looks at me strangely every time I come home with an organ in the back of my pickup.(I picked up a M3 dumped on the side of a road yesterday) One M100 wasscrapped for every possible part, one (flawless) sits in my music room, and one is nervouslly looking at me chopping my gigging M3 into a looks like a Vox Super Continental but sounds like a Hammond unit.</P>


My question is what the heck is the stereo reverb section of the M100's. (Googling didn't come up with an answer.) The youngest of the M100s has a smaller 2/3's sized reverbamp for some reason though I haven't removedit to look at the wiring. </P>


And if I decide to chop a M100 could I ,or should I , make a separate satellite section (using the 2 or 3 speakers from the organ) for my leslie 251 (modded into a 147) to handle the reverb channel. I could use the two disconnected 6X9 speakers that came in the 251 but I don't remember 6x9's sounding too good in my 66 Impala. </P>


Thanks to all who read my ramblings, Tom (Yes I really live in Lodi) Orosco</P>

[bootchman]

Re: What's the &quot;Stereo Reverb&quot; set-up on a M-100 vs a &quot;Regular&quot; Fender style reverb?



My <u>hunch</u> is that Hammond simply used the name stereo reverberation because in effect, the reverb seemed to expand the size of the room by an extra speaker with its own amp, making it in theory another channel from the unaffected organ sound. My A102 and M101 both have a separate amp and a single speaker for the reverb in the console. I never felt that the reverb coming from in front of your knees was very satisfying.</p>

http://theatreorgans.com/hammond/HAMCAT15.GIF
</p>

With both organs, I also use the small external speakers (1 for the M100, 2 for the A102) that Hammond advertised in the 60's as adding sterephonic tone to an M-3. It was a system that used a spring tank and amp, with a volume pot on the back. Hammond also made a wedge that sat behind the music rack and reflected off the wall.</p>

However, I use the speakers with an external amp, Alesis nano verb, and a Trek II line out box on each organ. Stereo? No. Spacious sounding? Definitely. </p>

Roy
</p>

[andyg]

Re: What's the &quot;Stereo Reverb&quot; set-up on a M-100 vs a &quot;Regular&quot; Fender style reverb?



'Hunch' is exactly right!</p>

Not really stereo, but separated in the way you describe.</p>

Andy
</p>

[andyg]

Re: What's the &quot;Stereo Reverb&quot; set-up on a M-100 vs a &quot;Regular&quot; Fender style reverb?



'Hunch' is exactly right!</p>

Not really stereo, but separated in the way you describe.</p>

Andy
</p>

[skookum88]

Re: What's the &quot;Stereo Reverb&quot; set-up on a M-100 vs a &quot;Regular&quot; Fender style reverb?



Tom, that (was) stock 251 Leslie of yours is perfect for an M-100 ![Y]</P>


Anyways, thisdiscussion brings upa good question.
The M-100 is obviously monophonic. The main amp feeds its un-reverberated signal to the main pair of speakers. In addition, (like an A-100), the reverb amp takes a secondary feed off the main amp and puts the resulting reverberated signal through its own dedicated speaker.

On page 20 &amp; 21 of the Service Manual for the Ms</P>


http://www.jackhollow.co.uk/hammond/...00-M-M2-M3.pdf </P>


there are tantalizing mono/stereo statements (with an illustration):
e.g.- "Stereo earphones can give pleasing results when attached as shown in the schematic below....."</P>


So, could the two separate signalsconstitute the Left and Right channels of a "Stereo" feedfor a headphones-out (or a line-out, for that matter)?
Not knowing how to decipher this, it makes me wonder that, even if it is possible,wouldn't itnecessarily be pretty crude...i.e.- the one main channel would always be present, but the reverb channel would sound only when the reverb was switched on (??)
Over to you guys...[8-)]</P>

[Guest]

Re: What's the &quot;Stereo Reverb&quot; set-up on a M-100 vs a &quot;Regular&quot; Fender style reverb?



Thanks for the info. My confusion was based on a wire coming into the reverb amp from one of the main speakers. I thought is was an ouput from the amp. One schematic (from Captain Foldback's site) describes it as an input for what ITHINK is a volume control circut. ......I just saw it described on the bottom of page 17 and top of 18 of the service manuel.</P>


At the time I bought the 215 (for $125 - saw it in an opengarage, knocked on the door, and bought it), I was using a XK-2 with a Leslie 47 (paid $50 from a church yard) with a 147 adapter. They didn't make a 215 adapter, so the amp was modified. Most likely I'll try to buy a 215 amp for the M-100 and just switch amps in the cabinet.</P>


I'm in the final stage of a "guitars for a B3/122" trade, so my 5 year search for a "moderately priced" B3 might be at an end. I've never even touched a B3 before so you can imagine my excitment. My wife will most likely say "Where the hell do you think you're putting that in the house?" but hey who needs a couch in a livingroom when you have a Hammond.</P>
<P mce_keep="true"></P>

[Guest]

I'm realizing that the topic is old but I have a fresh experience with M102 Factory Split and Leslie 720 moded to one chanel, with 122/147 passive crossover, 15" on the place of 10", lower drum with larger mouth and 8"s removed and moded compression chamber.

I think that when properly set up, the stereo reverberation on the very spinet produces very ambient, moving tonal feeling that is following exacty the location you play on the manual in space in two dimensions: right, midle, left are in fact lows, middles and highs. The same applies for pedals and the mix of the manuals with pedals!

When hooked to a Leslie, properly set up and on Ensemble, this is giving a full bold sound of a concert hall with a lot of "artefact" reflections and mixes and a proper sens for different tones (and reflextions) in different location in space, adding the third dimension (as if you are in cathedral with big pipe organ!)

That is, I must say, very, very pleasant and realistic! If you add slow or fast speed, you may sculpt amazing tonal textures in space as Chorus or Tremolo interfere naturaly with the rest of the space mix giving you the third dimension! The feeling is that the spinet you are playing is a Leslie too, or that you have a console with two Leslies more likely! What do I need more? B3 with 2X122, one day may be?

I belive in physics there is better explanation of this pnenomenon but I had only two semesters many years ago before switching to something else.

I can only imaging what an experienced player or a pro could achieve with those! Even for an amateur, Shine On You Crazy Diamond is just a small step ahead of anyone with instruments such fine as those!

I also admit, the reverberated signal is partly sent back and mixed but in real time, trough the main amp/speakers for our pleasure, following the very best analog idea of reverberation!

Cheers!
Boyan