No subject

capacitors were rated at 20 % tolerance. I have no way of verifying  how
accurate this 20% rating claim is.  I went and checked the old wax
capacitors  that were originally in my 1962 C3 but there was no
tolerance rating  written on them. I checked the red mylar caps and
transformer coil filters tray ( originally from a 1970 T-300 ) that are
now in my C3 and I checked the red mylar caps  in my late 60's / early
70's  L-143 and  these do have a 10 % tolerance rating written on them.
Earlier this year I measured the mfd values of the red mylar capacitors
that are now in my C3 and all of these capacitors are well within 10 %
of their 0.255 mfd and their 0.1 mfd ratings so therefore these red
mylar caps would more or less still be properly matched to their
transformer coil filters.
The ESR is another factor to consider but I am not sure how this
actually affects the output levels of the TG notes . From what I have
read , the wax caps had higher ESR than the modern capacitors  so
therefore it would  be very interesting to compare the output levels
readings if a brand new wax cap with high ESR and a new modern
capacitor with low ESR but that both capacitors have an EXACT identical
mfd value  were tested on  TG note filters throughout the  various
frequencies in the TG notes 49 to 91 range.

Has anyone done this or can anyone explain how the ESR factor affects
the output levels or the resonance of the filter ?

William Mark Bristow wrote:
>The Factory Sound - sounds like any red-mylar-cap B3 or C3 

Yes , because the red mylar capacitors did not drift up in mfd value
with age like the wax capacitors did ,  the post 1964 red mylar capped
organs  would be the most reliable  guide as to what the  factory TG
output curve for the TG notes 49 to 91  looks and sounds like as long as
the  TG was calibrated properly at the factory  with a smooth output
curve  without peaks and dips. I have the TG output curves of many red
mylar capped organs in my TG spreadsheet and I used the similarities  of
the output curves of  the red mylar capped organs that had a smooth
output curve  as the  basis of my own understanding about  the
theoretically possible  factory TG output curve levels for the TG notes
49 to 91. The output levels of the TG notes 1 to 49  tend to be more
consistent in most of the organs in my TG spreadsheet with the
noticeable factor that the pre 1956 organs had somewhat higher output
levels in the TG notes 1 to 43 range compared to that of the post 1956
organs and sometime in the mid to late 60's the levels of the  bass
pedal TG notes 1 to 12 were lowered even more. This means that the pre
1956 organs would have a warmer bass and lower midrange than the post
1956 organs.

> (And sounds exactly like my XK3 run thru my 145 - 
BLASPHEMOUS SACRILEGE!!!!!!! HOOWWW DAAAAAAAAARE YOOOOUUU!!!!!!  LOL   :
-)

> Listen to the recordings made in the 1960's & 1970's - the Hammonds
sound
>pretty much the same as now. 

The organs on my 1960's / 70's  recordings do sound similar to the
organs on several contemporary recordings , especially with contemporary
Jazz / Blues recordings with the typical Jimmy Smith type drawbar and
percussion settings and the Jimmy Smith influenced playing style.


> There were Hammonds then that were thick and muddy - and some that
were thin and nasal and some that sounded >wonderful.

This helps to confirm that even when they were new , each organ sounded
somewhat different from each other  and there were some great fat
sounding organs and some not so great thin or muddy sounding organs .
The authorised  factory TG output curve specs chart would have been used
as the calibration  guide  however because each TG was calibrated  by
hand whilst observing the factory voltage meter and due to the extremely
delicate and sensitive nature of the pickup positions and the fact that
the output levels can often change when the set screw was tightened ,
each organ would have had a somewhat different TG output  curve and a
somewhat different timbre. This is a major reason why I like seeing the
measured TG output levels of organs and especially the TG output curves
of  great sounding organs. Of course the manual tapering and the preamp
and Leslie component tolerance  factors  would play some part here as
well. 

END OF PART 2