8'16'51/ 3'16' 8' 4' 22/3' 2' 1 3/5' 11/3' 1'51/ 3'16' 8' 4' 22/3' 2' 1 3/5' 11/3' 1'51/ 3'16' 8' 4' 22/3' 2' 1 3/5' 11/3' 1'41Setting UpDRAWBARS FOR THE UPPER AND LOWER PARTSThe left white Drawbar represents the “fundamental” or “8´base” tone. All of the other white Drawbars are octave intervalsor harmonics of the fundamental tone. The tonal brilliance isgreatly increased by adding white Drawbars, but the harmonicsadded are always in “consonance” or harmony.BLACK DRAWBARSBROWN DRAWBARSDRAWBARS TO USE ON THE PEDALTh e black Drawbars represent the “dissonant” harmonics whichare also necessary in building rich tone colors. The mellownessof a horn, the pungency of strings, and the brilliance of reedvoices owe much of their character to the presence of theseharmonics in different degrees.Th e two brown Drawbars on the far left give depth and richnessto the sound. The left 16´ is one octave lower than the 8´, and5⅓´ is the third harmonic of the 16´ fundamental. Normally,the tones are built on the 8’ fundamental, but, if you want toadd depth to the tone or to expand the playing range by oneoctave lower, build your tones on the 16´ fundamental.The two brown Drawbars located between the Drawbars forthe Upper and Lower parts control the sounds produced by thePedal part. The left Pedal Drawbar produces a composite toneat 16´ pitch for a deep foundation bass, while the right PedalDrawbar produces a composite tone at 8´ pitch, or one octavehigher.WHITE DRAWBARSTh e Colors of the Drawbars are traditional to Hammond, and were established toprovide a quick visual guide to the harmonics generated by the Drawbars.
