Hammond 102200
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Hammond 102200

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102200, Analog Synth from Hammond.


4 user reviews
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Hammond 102200 tech. sheet

  • Manufacturer: Hammond
  • Model: 102200
  • Category: Analog Synths
  • Added in our database on: 11/09/2008

We have no technical specifications for this product
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Hammond 102200 user reviews

Average Score:4.5( 4.5/5 based on 4 reviews )
 3 reviews75 %
 1 user review25 %
mooseherman04/22/2010

mooseherman's review

Hammond 102200
This is a really cool synthesizer made by Hammond, the legendary organ manufacturer. I was surprised to find that they even made synthesizers, I figured they would stick to the organs that they made their name on. However, this is a pretty cool instrument. The features are a bit limited. There are 44 keys, which isn't a whole lot, but isn't too small either. This thing is really old, so it can't be edited with any computers, and if I'm not mistaken, it predates MIDI, which makes it tough to compare to modern synths but usually means it sounds far better. It is a polyphonic and monophonic instrument. There are only 6 sounds on it, and they don't sound anything like the instruments they are supposed to. There is no way to edit the sounds.

UTILIZATION

Getting a good sound out of this guy isn't too hard, but there aren't that many. The setup is easy as long as the thing is working. Considering that there's only about 50 believed to even be found on the planet, the likelihood of finding one that works and stays working is very unlikely. I have no idea whether or not there even is a manual, but it's not really necessary either. There are six presets, and also a manual mode where you have control over pitch, filter, attack/decay, pitch bend and modulation.

SOUNDS

There are no realistic sounds on this synth. I don't really understand why people expect and/or want their synths to actually sound like real instruments, considering that I have never heard one that actually does. I'm more interested in these old analog synths that have qualities al their own. The sounds that come out of this thing are pretty cool, they really aren't my favorite in the world when it comes to analog synths, but they're unique to say the least. I really don't think that there is any other instrument that sounds exactly like this, but I do think there are better ones.

OVERALL OPINION

I was expecting much more when a client of ours showed me this instrument. When he told me how rare they are, and raved about it, I felt as though playing one would have been a rare privilege that I would remember forever, it actually was pretty underwhelming. The rarity of these devices has driven the price up to an insane degree, and I would have to say that because of this, the cost would almost definitely not be worth it, especially since there aren't a whole lot of people who really know how to repair them. Since you probably won't encounter one, this is a hypothetical situation for the most part.
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Audiofanzine FR12/07/2008

Audiofanzine FR's review

Hammond 102200
(Originally written by Lux Inferno/translated from Audiofanzine FR)
It's a synthesizer, not an organ. Indeed Hammond is famous for its organs but it also made two synthesizers in the mid 70's just after being bought by the Japanese. Only two hundred 102200 were ever produced and in 2008 the number of working 102200 is estimated at only 50 in the whole world.

The keyboard has 44 keys, evidently without aftertouch or velocity. Controls? None (except for a volume and a tuning control).

There is only one output with a mono 1/4" jack.

Six basic presets (french horn, tuba, violin, sax, clarinet, solar echo) but you can also "create" sounds selecting different positions for the 49 switches on the panel and using the "wind" control that generates white noise. It's not possible to "combine" different presets. If you use the panel switches you have to deselect the presets.

An LFO and a VCO are also provided.

There is no sound memory.

The synth is monophonic which was standard at the time (the first polyphonic synth was the Polymoog).

It can only be powered with 230 V and there is no possibility to switch to 110 V so I think it was only conceived for the European market.

Inside the cabinet the electronics are extremely simple: one card = one function, every card is plugged into a slot.

UTILIZATION

The overall configuration extremely simple. Just press the buttons and that's it. It couldn't be more "plug and play". So sound editing is accessible to anyone, no user's manual is needed.

Sound editing: you have two options, either you choose from the six sound presets or you depress the "cancel" button (disabling all other preset buttons ) and enter sound editing mode. The control is divided in five main sections:

- "Tone pitch" allows you to select the pitch setting (32, 16, 8 or 4) with the possibility to select square or triangle waveform for each setting (except for the last setting [4'] which only has a sawtooth waveform)

- "Tone filter" (when the filter is active) and "Filter rise and fall" (width and speed) that control the resonant filter. Both controls have a bypass function.

- "Attack/decay" is nothing but the standard ADSR envelope .

- "Pitch bend" allows you to adjust the pitch bend time.

- "Modulator" is an enhanced vibrato effect that creates a fuzz-like effect with certain sounds.

The "Wind" control produces white noise that can be added to the sound you edited, but the noise generator can also be used on its own and be modulated by the filter and the ADSR envelope (all other settings don't have any effect on it).

SOUNDS

The sound is not realistic (I never understood why some manufacturers committed themselves to presenting synthesizers that imitated other instruments, when they were instruments in their own right and with their own particular character).

Expressiveness has no meaning with this sort of equipment.

Regarding the six sound presets only the "clarinet" sounds like a real instrument. For the other four simulated instruments (trumpet, tuba, violin and sax) the unit produces powerful (sawtooth waveform) organ sounds. The last preset (Solar) has a rather short attack with vibrato creating a fuzz effect and a resonant filter to create a sort of flanger. This preset has a disco character to it.

Bass presets are real basses (did you say VST?) and the resonant filter allows you to create acid sounds.

OVERALL OPINION

I bought it out of curiosity and this device is quite pleasant thanks to its ease of use.

The interesting thing about this collector's item is that it was conceived for the consumer market unlike the Korg MS20 and the like. It has only a few buttons, you push them and you hear the result. Each switch is labeled with a small curve indicating its function.

The device produces a good analog sound with characterful lows. In spite of its 33 years, it produces virtually no noise.
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Audiofanzine FR11/09/2008

Audiofanzine FR's review

Hammond 102200
(Originally written by Lux Inferno/translated from Audiofanzine FR)

It's a synthesizer, not an organ. Indeed Hammond is famous for its organs but it also made two synthesizers in the mid 70's just after being bought by the Japanese. Only two hundred 102200 were ever produced and in 2008 the number of working 102200 is estimated at only 50 in the whole world.

The keyboard has 44 keys, evidently without aftertouch or velocity. Controls? None (with exception of a control and a tuning control).
There is only one output with a mono 1/4" jack.
6 basic presets (french horn, tuba, violin, sax, clarinet, solar echo) but you can also "create" sounds selecting different positions for the 49 switches on the panel and using the "wind" control that generates white noise. It's not possible to "combine" different presets. If you use the panel switches you have to deselect the presets.
A LFO and a VCO are also provided.
There is no sound memory.
The synth is monophonic which was standard at the time (the first polyphonic synth was the Polymoog).
It can only be powered with 230 V and there is no possibility to switch to 110 V so I think it was only conceived for the European market.
Inside the cabinet the electronics are extremely simple: one card = one function, every card is plugged into a slot.

UTILIZATION

The overall configuration is extremely simple. Just push the buttons and that's it. It couldn't be more "plug and play". So sound editing is open to anyone, no user's manual needed.

SOUNDS

The sound is not realistic (I never understood why some manufacturers committed themselves to presenting synthesizers that imitated other instruments, when they were actually instruments in their own right and with their own particular character).

Expressiveness has no meaning with this sort of equipment.



OVERALL OPINION

The interesting point of this collector's item is that it was designed for the consumer market unlike the Korg MS20 and many others. It has only a few buttons, you push them and you hear the result. And each switch is labeled with a small curve indicating its function.

As soon as I spend more time with the unit, I'll post information regarding the sound. I found it recently and bought it out of curiosity.
»
Lux Inferno12/29/2008

Lux Inferno's review (This content has been automatically translated from French)

Hammond 102200
It is indeed a synthtiseur and not an organ, you read that right. Indeed, the firm clbre Hammond organ builder rputs, made two attempts on the market synthtiseurs the mid-70s, just APRS its acquisition by Japanese. The MODEL 102 200 t was produced that 200 copies in 2008 the number of copies still in use worldwide is estimated 50. Sale price the era: $ 4000.

The keyboard has 44 keys, although obviously not aftertouch, or VLOC. Controller? Not at all (note even when a volume slider and a slider tuning).

The connection is seen Reduces its simplest form, a mono output jack 6.35 and that's it.

There are 6 preset sounds basic (french horn, tuba, violin, sax, clarinet, solar echo), but it can also "CRER" sounds by selecting the diffrent positions of switches 49 that are on the panel , plus the possibility to use the cursor to "wind" produce white noise. The presets are not "combined" when using panel switches, they must be DSelect.

There are a VCO and a LFO.

There is no memory of sounds.

The bug is monophonic, which corresponds to the standards of the era (the first was the polyphonic Polymoog).

Curiously it plugs directly into the 230 V, with no possibility of switching 110 V in the rear, suggesting that silent exclusively for the European market.

Even if there sailing on a sea of ​​wiring under the hood rgne a quasi-military discipline: card = a function, all the cards are plugged into slots.

UTILIZATION

Configuration gnrale s'avre simplissime, pressing buttons and presto, it is difficult to do more "plug and play". So the edition of sounds becomes possible for anyone, no need to book.

The edition sounds: So two choices are possible, the 6 preset sounds, and then pressing the "cancel" (which dsenclenche all other preset buttons) the edition of sounds. The panel is CONTRL dcompose in five major areas:

- "Tone pitch" to choose the height of the pitch (32, 16, 8, or 4) for each height with the possibility to select the square or triangle (except for dernire height [4 ' ], it will be sawtooth or nothing)

- "Tone filter" (dclenchement time of the filter) and "Filter Rise & Fall" (width and speed) that control the filter rsons, these two commands are provided with a bypass,

- "Attack / Decay," nothing very complicated is the classic ADSR envelope,

- "Pitch Bend", this function allows the hard of rgler pitchbend,

- "Modulator", a vibrato amlior overlooking some sound effects close to the fuzz.

The cursor "Wind" and produces white noise can be superimposed on the sound you Dfine, but gnrateur noise can also be used in solo and be modulated by the filter and the ADSR (other commands are inoprantes upon him).

SOUNDS

The sounds are not ralistes (I never understood the desire of manufacturers to want any price Submitted synthtiseurs the general public as instruments of imitation, as they are instruments by Entire CHARACTERISTICS their own).

The notion of expressiveness is meaningless on this type of gear.

Of the 6 preset sounds, only the sound dnomm "clarinet" sounds like the instrument it is supposed to imitate. For four other sounds of imitation, "trumpet" "tuba" "violin" and "sax", one remains in organ tones, even when powerful (sawtooth wave). Regarding the last sound preset "Solar echo" It is an attack with a relatively short Crant vibrato effect fuzz and a filter that gives a lightweight rsons flanger, plutt disco in mind.

The bass is the real low (VST tell you?), And the filter can be rsons sounds a bit acidic.

According to the specialist in, the sound would be in line with the Roland SH 1000 and Arp Axxe ( http://fr.youtube.com/watch?v=x5A7ADhNWPQ )

OVERALL OPINION

Purchased by this beast curiosities s'avre friendly IMMEDIATE use by its appearance.

The collector of intrt RSID public in its approach, the antithesis of the Korg MS20 and others. Only buttons, you press and you see what a given, plus cot in each figure a switch curve giving an indication of the choices made.
However the sound is nevertheless a good analog sound with the grain in the lower. Despite his 33 years at the counter, it produces almost no breath.
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