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Aug 19, 2021 12 tweets 4 min read Read on X
For some unknown reason people keep trying to insist the Hammond organ is a sexy beast. Is it really?

Let's find out... Image
First made in 1935 the Hammond organ was a curio. It could mimic the sound of a pipe organ through some ingenious technical wizardry. Image
Its creator Laurens Hammond was a mechanical engineer who had started his own clock company. But he became fascinated by the noises of the moving gears in his electric clocks... Image
...and after much experimentation Hammond found that he could generate tones by placing a mechanically rotating wheel next to an electromagnetic pick-up. Image
Hammond used nine mechanical wheels to each key on a keyboard, and then added a series of drawbar controllers that could fade in or out any of the frequencies. Thus the Hammond organ was born! Image
The mix of drawbars and tonewheels allowed millions of potential combinations of sound. It was a versatile instrument. Image
Initially the Hammond organ was sold at discount to churches who could not afford a traditional pipe organ. Two types were manufactured: Spinet organs with two 44-note manuals and one octave of pedals, and Console organs with two 61-note manuals and two octaves of pedals. Image
These early Hammond organs needed to be linked to an amplifier, but by the 1950s versions were released with an internal power amplifier and speakers. Image
Hammond organs became a mainstay of the prog rock movement, but it was jazz musicians who first latched on to the instrument's versatility and potential. Image
In the 1970s Hammond began replacing the tonewheels with transistors. That probably did for the company as the classic Hammond sound relied on analogue electronics. Image
In 1985 Hammond went out of business and in 1989 the name was purchased by Suzuki. In 2002, Hammond-Suzuki launched the New B-3, a recreation of the original electromechanical instrument using contemporary electronics and a digital tonewheel simulator. Image
Over two million Hammond organs were manufactured by the company and it's fair to say it was one of the most influential instruments of the electronic era. Was it sexy? Perhaps a bit. But it was certainly everywhere in the 1970s!

Mr Hammond - Twitter salutes your organ! Image

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More from @PulpLibrarian

Oct 5
Time once again for our occasional series "Women with great hair fleeing gothic houses!"

And today I count down my Top 10 of most gothic goths a' fleeing... Image
At No 10: The Unlamented, by Dorothy Daniels. Pocket Books, 1975. That's a great goth coat! Image
At No 9: The Haunting of Drumroe, by Claudette Nicole. Fawcett Gold Medal, 1971. Who says a gothic lady can't rock a white nightie in the snow? Image
Read 12 tweets
Sep 1
Today in pulp, one of the most influential and outrageous illustrators of the Italian Italian fumetti scene: Emanuele Taglietti!

This will be interesting... Image
Emanuele Taglietti was born in Ferrara in 1943. His father worked as a set designer for director Michaelangelo Antonioni, often taking Emanuele with him on set. Image
In the 1960s Taglietti moved to Rome, where he studied stage design. He began a successful career as an assistant art director, working for Federico Fellini and Marco Ferreri. Image
Read 17 tweets
Aug 25
"He lay beside the gently whispering stream - murdered!"

Scales Of Justice, by Ngaio Marsh. Fontana, 1958. Image
"Sucked to death in a seething cauldron of mud!"

Colour Scheme, by Ngaio Marsh. Fontana, 1960. Image
Death amongst the darts and drinks...

Death At The Bar, by Ngaio Marsh. Fontana, 1956. Image
Read 10 tweets
Aug 18
Today in pulp... a few covers by Reginald Heade. Image
Vice Rackets Of Soho, by Roland Vane. Archer Books, 1951. Cover by Reginald Heade. Image
Sinful Sisters, by Ronald Vane. Archer Books, 1951. Cover by Reginald Heade. Image
Read 16 tweets
Aug 16
Time once again for my occasional series "Women with great hair fleeing gothic houses!"

No, I hadn't forgotten... Image
Terror On Duncan Island, by Caroline Farr. Signet Gothic, 1971. Cover by Allan Kass.

Note: this is a sea-circled island. None of your oxbow lake nonsense here... Image
The Fortune Hunters, by Joan Aiken. Pocket Books, 1972.

When fleeing a gothic castle be sure to colour co-ordinate! Image
Read 18 tweets
Aug 13
If the spacesuit is the symbol of progress, the gas mask is the sign of the apocalypse. In popular culture it signifies that science has turned against us. It's the face of dystopia.

Today in pulp I look at the culture of the mask!
Image
Image
The first chemical masks were work by Venitian plague doctors: a bird-like affair, the beak stuffed with lavender, matched with full length coat and hat. It was a terrifying sight - the grim reaper come to apply poultices to your tumours. Image
But it was poison gas, first used at the Second Battle of Ypres in 1915, that led to the modern gas mask. At first these were cotton masks treated with chemicals. However their protection was limited. Image
Read 19 tweets

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