With no more than a Hammond organ, a bit of spring reverb, and maybe a touch of overdrive, these guys were creating exciting new forms of dance music throughout the middle of the 20th century. So when players such as Jimmy Smith and Earl Grant cast off their sackcloth and made a bee-line for the front of the stage, they did so with nary a Minimoog, ARP 2600, EMS VCS3, chorus unit, phaser, ensemble, or digital reverb in sight - which isn't surprising, as none of these had yet been invented. Long before Keith Emerson and Rick Wakeman showed us that keyboard players did not have to be accompanists dressed in black and illuminated by black spotlights, and even longer before musicians began to take to the stage armed with nothing but a laptop computer and a pair of turntables, jazz and blues organists were the hi-tech musicians of their day. So emulating a Hammond with an analogue synth shouldn't be too hard, right? Well.
Long before Bob Moog built his first synth, there was the Hammond tonewheel organ effectively an additive synthesizer, albeit electromechanical rather than electronic.
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