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Speaker 1: Hey, everybody in Orlando.

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Speaker 2: We feel pretty sure that you've heard the news, but

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Speaker 2: if you haven't, our show that was postponed has been

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Speaker 2: rescheduled for Friday, September eighth, which is great news.

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Speaker 3: Yeah, it is great news. If you thought a Saturday

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Speaker 3: show is going to be great, wait until you see

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Speaker 3: us on a Friday, Orlando.

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Speaker 1: That's right, and the Vinue should have gotten in touch

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Speaker 1: with you by now.

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Speaker 2: Your tickets are still good. If you cannot go, we're

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Speaker 2: very sad, but you can get a refund on that.

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Speaker 2: And hey, if you're available now on Friday September eighth,

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Speaker 2: come and see us in Orlando.

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Speaker 3: Yeah, tickets are still available, and you can get all

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Speaker 3: the information you need by going to leaktree, slash sysk

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Speaker 3: or stuff youshould do dot com and check out our

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Speaker 3: on tour page and we'll see you September eighth. Welcome

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Speaker 3: to Stuff you Should Know, a production of iHeartRadio. Hey,

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Speaker 3: and welcome to the podcast. I'm Josh. There's Chuck Cherry's

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Speaker 3: here too, and this is stuff you should know. Part

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Speaker 3: of our ongoing musical saga frequently overlooked, but when we

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Speaker 3: do him, can we hit him out of the Park.

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Speaker 3: Remember remember the one where we talked about pitch and

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Speaker 3: we got every single thing we could have possibly gotten

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Speaker 3: wrong wrong.

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Speaker 2: I file this more sort of in the same category

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Speaker 2: as the great episodes we did on Les Paul and

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Speaker 2: Leo Fender.

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Speaker 3: Yeah.

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Speaker 1: Music, Yeah, but you know why you got to bring

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Speaker 1: up our worst music one?

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Speaker 3: What else have we're done some other musical stuff, haven't

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Speaker 3: we've done like actual genres punk and hip hop and.

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Speaker 1: Yeah disco, Yes, great one, you love that one.

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Speaker 3: We have a robust musical suite going, and this adds

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Speaker 3: to it. I think this is a good idea in

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Speaker 3: your part, because we're talking about a guy who I

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Speaker 3: always thought his first name was John, and I couldn't

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Speaker 3: figure out why, and then I realized that Jurassic Park,

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Speaker 3: Jurassic Park, his name was John Hammond. It's funny, for sure.

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Speaker 3: So its name actually isn't John, It's Lawrence. But I

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Speaker 3: think you pronounce it like Lawrence, but it's spelled Lawrenz.

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Speaker 2: Yeah, I've heard Lorenz Hammond. Oh really Yeah, anyway, by Larry,

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Speaker 2: so he'll just came Larry.

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Speaker 3: Yeah, that's why I thought they probably pronounced it Lawrence.

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Speaker 3: But if you recognize his last name, not from Jurassic Park,

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Speaker 3: but from the electric organ. Because he was indisputably the

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Speaker 3: inventor of the electric organ. He was the first guy

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Speaker 3: to really put everything together and make it work.

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Speaker 1: That's right.

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Speaker 2: Specifically obviously the Hammond organ and very much notably the

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Speaker 2: Hammond B three, which was one of the organs in

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Speaker 2: his line of organs. And if you are a piano

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Speaker 2: player or an organist, a keyboard person, then you're like,

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Speaker 2: oh yeah, speak to me, baby.

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Speaker 1: If you're not, and you're like a Hammond B three,

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Speaker 1: what's that? It is the sound of rock and roll.

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Speaker 3: It is.

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Speaker 2: Refugee by Tom Petty and half the Songs of Boston,

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Speaker 2: and it's oh yeah, you know the big organ solo

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Speaker 2: in the Big Boston Suite. It is like a rolling

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Speaker 2: stone by Bob Dylan and a wider shade of Pale

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Speaker 2: by Procol Harum.

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Speaker 1: It is in so many songs that you know and

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Speaker 1: love one of the more.

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Speaker 2: And that's not to mention you know, jazz and everything

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Speaker 2: else that the Hammond B three was used for. But

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Speaker 2: it really made his mark on rock and roll in

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Speaker 2: the sixties and seventies. Even though it was built and

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Speaker 2: created in nineteen thirty five, and even though Larry Hammond

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Speaker 2: by all accounts was tone deaf and did not play

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Speaker 2: a note of any instrument ever in his life.

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Speaker 3: Yeah, I mean that by his own admission. From what

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Speaker 3: I understand, it's like Leo Fender. Yeah, I forgot about that.

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Speaker 3: But yeah, one other I think one other group that

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Speaker 3: requires shouting. I think doctor Teith played a Hammond B three.

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Speaker 3: Of course, absolutely, I'm pretty sure. So, yeah, he Larry

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Speaker 3: Hammond didn't know what he was doing with music, but

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Speaker 3: he knew what he was doing with engineering, specifically electrical engineering,

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Speaker 3: which at the time he was studying this he was

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Speaker 3: born in eighteen ninety five, started studying in the first

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Speaker 3: couple decades of the twentieth century. This was some brand

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Speaker 3: new stuff. And this guy was at the bleeding edge

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Speaker 3: of the whole thing, leading, which I used correctly. Finally,

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Speaker 3: did you say leading or bleeding? I said bleeding.

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Speaker 1: No, bleeding is when it leads to bad things.

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Speaker 3: People have been electrocuted.

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Speaker 1: Okay, that's a good point.

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Speaker 3: Yeah.

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Speaker 2: So Hammond was born a young boy in just outside Chicago,

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Speaker 2: in the suburb of Evanston, Illinois, like you said, in

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Speaker 2: eighteen ninety five, and he was the only boy of

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Speaker 2: four kids. He had three sisters, had a father who

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Speaker 2: was a banker who died when he was two, and

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Speaker 2: a mother named is a great name, Idea Strong Hammond,

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Speaker 2: who was an impressionist painter and you know, pretty accomplished

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Speaker 2: in an artist and a creative. So once mister Hammond dies,

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Speaker 2: when little Larry's just too she says, you know what,

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Speaker 2: I'm packing up my three girls and my son and

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Speaker 2: we're going to Europe where you can be submerged in

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Speaker 2: the arts and get what I think is probably a

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Speaker 2: more proper education.

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Speaker 3: Yeah. So from the time they moved there when he

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Speaker 3: was four till the time they moved back to Evanston

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Speaker 3: when he was fourteen, they lived in Geneva, in Dresden

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Speaker 3: and Paris. And one of the things about Larry Hammond

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Speaker 3: was from an extraordinarily young age, he was a tinkerer.

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Speaker 3: He wanted to know how things worked. And when they

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Speaker 3: landed in Paris, I'm not sure exactly what h he

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Speaker 3: was at the time. I think he was a tween possibly,

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Speaker 3: but France was like this was when the first cars

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Speaker 3: were really being designed to built and France was the

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Speaker 3: epicenter of that, and Larry little Larry Hammond happened to

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Speaker 3: live there at the time, so he was taking apart

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Speaker 3: engines from a very young age and actually came up

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Speaker 3: with the crude version of an automatic transmission a decade

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Speaker 3: before it was ever actually patented. That's what this kid

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Speaker 3: was doing as a tween.

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Speaker 2: Yeah, yeah, as a twelve year old, he was incredibly brilliant,

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Speaker 2: probably a genius. I know that word is thrown around

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Speaker 2: a lot, but if you're doing that kind of thing

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Speaker 2: when you're twelve in the early twentieth century, then that

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Speaker 2: qualifies in my book.

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Speaker 3: Yeah, I was putting on like half a bottle of

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Speaker 3: Polo cologne and wandering around the mall. At this age,

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Speaker 3: I was.

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Speaker 1: In the basement hiding from Satan.

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Speaker 3: There you go. That's another thing to do. That's another

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Speaker 3: thing to do.

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Speaker 2: So the Hammonds were, like I said, they were all

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Speaker 2: pretty accomplished. Well, the mom was pretty accomplished, and all

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Speaker 2: his sisters would go on to do great things. His

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Speaker 2: sister Unis was a writer and a poet and edited

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Speaker 2: a poetry magazine. His sister Louise was a missionary in

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Speaker 2: China who would transcribe Christian hyndls and religious books in

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Speaker 2: Chinese and his sister Peggy was a musician. She was

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Speaker 2: a cellist, a world class cellist, but young Larry was

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Speaker 2: not inclined musically. When they went back to Evanston, Illinois,

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Speaker 2: he continued continued to sort of experiment and take things

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Speaker 2: apart and put him back together, and eventually he got

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Speaker 2: a little taste of success early on, when he was sixteen,

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Speaker 2: he had his first US patent with a kind of

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Speaker 2: a new and improved barometer that he ended up making

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Speaker 2: a few hundred books off of which you know, was

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Speaker 2: pretty good for a sixteen year old. And the nineteen

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Speaker 2: what is this twenties at this point, teens.

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Speaker 3: Yeah, he would have been it would have been nineteen four,

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Speaker 3: nineteen nine, Okay, yeah, nineteen eleven, somewhere in there. All right,

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Speaker 3: So yeah, he ended up going on to car. I

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Speaker 3: don't think there was ever any question whether he was

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Speaker 3: going to or not, thanks to his mom and her

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Speaker 3: strong will about education and work ethic and he ended

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Speaker 3: up at Cornell in Ithaca, and apparently, according to the

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Speaker 3: Larry Hammond legend, he finally kind of came to understand

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Speaker 3: his own maybe mission in life, if not brilliant. From

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Speaker 3: when I read you had a bit of an ego

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Speaker 3: here or there, although he was generally a good guy.

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Speaker 3: This story kind of jibes.

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Speaker 1: I've never known any genius inventors to have large egos, right,

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Speaker 1: It's unusual.

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Speaker 3: Usually very meek and they hide in the basement from

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Speaker 3: Satan too.

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Speaker 1: That's right.

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Speaker 3: But the night before exams, he and his friends went

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Speaker 3: out to Syracuse and were drinking, drinking, drinking, and caught

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Speaker 3: the last train back to Ithaca. And when they got

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Speaker 3: to class, they were still kind of drunk, and Larry

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Speaker 3: Hammond wandered into the wrong class. Did he not what

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Speaker 3: happened after that, Chuck?

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Speaker 2: Well, apparently he went in on exam day to an

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Speaker 2: electrical engineering class that he wasn't even taking an ACE

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Speaker 2: the final or ace the exam.

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Speaker 1: I don't know if it was a final.

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Speaker 2: And I think, like you said, as the legend goes,

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Speaker 2: that's when he was like, huh, I'm a pretty smart

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Speaker 2: guy and I am good at inventing things, and so that's.

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Speaker 1: What I'm going to dedicate my life to.

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Speaker 3: Yeah, he's not only that he was going to be

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Speaker 3: an independent inventor. That is that's a life choice.

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Speaker 1: Right there, Oh right, like not going to work for

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Speaker 1: ge or Westinghouse or whatever.

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Speaker 3: Right, and he didn't. He ended up going somewhere I

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Speaker 3: don't remember where. He had a couple of jobs for sure,

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Speaker 3: especially to start out. But the first thing he did

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Speaker 3: after Cornell was to go and list in World War One. Yeah,

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Speaker 3: and I think he was stationed in France for a

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Speaker 3: little while, was mistaken for a French deserter because his

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Speaker 3: French was so good. Another part of his legend took

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Speaker 3: a little story. But then after that he moved to

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Speaker 3: Detroit and he took a job. He became chief engineering

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Speaker 3: he's still very young, at a company made boat engines,

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Speaker 3: because remember he had spent a lot of his tweens

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Speaker 3: taking engines. Apart he could ace an electrical engineering final,

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Speaker 3: but he also was studying mechanical engineering at the time,

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Speaker 3: so it makes sense that he was working at a

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Speaker 3: company that made boat engines.

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Speaker 1: Yeah, and he it was called the Gray Motor Company.

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Speaker 2: And apparently the guy he was working for was someone

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Speaker 2: that served with him an army and said, I think

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Speaker 2: it wasn't enough money or something, and under the table,

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Speaker 2: this guy paid him an extra three hundred bucks a

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Speaker 2: week that no one knew about, just to keep him

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Speaker 2: working on these boat engines. Man that he knew he

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Speaker 2: was that valuable and that he probably shouldn't be making

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Speaker 2: boat engines. So he greased the wheel, he greased the

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Speaker 2: palm a little bit, he greased the propeller.

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Speaker 3: But remember he wanted to be an independent inventor. And

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Speaker 3: if you have the spirit of an inventor and the

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Speaker 3: ego of somebody who can ace an electrical exam without

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Speaker 3: taking the test, no amount of money is going to

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Speaker 3: make you satisfied spending your life making boat engines for

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Speaker 3: somebody else. So he struck out, and I think he

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Speaker 3: did it the spot.

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Speaker 1: Struck out as in failed like baseball, no.

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Speaker 3: The other way around, like struck out on his own exactly,

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Speaker 3: just so people know. I think he was still working though,

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Speaker 3: and like at night, he was working on his own stuff.

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Speaker 3: So this was while he was working at the boat company,

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Speaker 3: from what I understand. But he came up with something

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Speaker 3: called the tickless clock, not ticklish clock, a tickless clock

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Speaker 3: that you couldn't hear tick because apparently that drove him crazy.

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Speaker 3: And I feel this guy. If you've ever had a

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Speaker 3: loud clock in the room with you while you're trying

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Speaker 3: to sleep, there's nothing else you can concentrate on except

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Speaker 3: the stupid ticking of that stupid clock. And Larry Hammond

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Speaker 3: felt the same way, so he invented one that didn't

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Speaker 3: make the ticking sound.

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Speaker 2: That's right, and he was like, you know what, I'm

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Speaker 2: going to sell this idea. He sold that idea, made

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Speaker 2: some pretty good money on it, enough that he was

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Speaker 2: able to move to New York and open up his

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Speaker 2: own sort of invention factory, and he invented something there

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Speaker 2: that kind of was the beginning of what would end

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Speaker 2: up like informing his future career in a lot of ways.

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Speaker 1: And that was the synchronous motor.

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Speaker 2: In America, at the time we were making this is

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Speaker 2: the early twenties, they were making the switch to sixty

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Speaker 2: herts from fifty herts. Westinghouse came along and they had

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Speaker 2: a lot of sway, obviously, and said, you know what,

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Speaker 2: this arc lighting system we have looks a lot better

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Speaker 2: at sixty herts. We need everything to be the same,

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Speaker 2: So United States, can we all move to sixty herts?

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Speaker 2: In the government said sure.

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Speaker 3: Right, yeah, oh sorry, So sixty herts is sixty cycles

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Speaker 3: a second, and it's part of alternating current, which, as

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Speaker 3: we remember, won out the current wars because you can

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Speaker 3: send it over very long distances with very little loss

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Speaker 3: of of energy. Right. Yeah, So they switched over to

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Speaker 3: sixty cycles a second, and Hammond said, well, wait a minute,

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Speaker 3: that's that's precise. Like we're talking about a precise like

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Speaker 3: something is moving back and forth between the poles sixty

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Speaker 3: times a second, and we're talking about electrons. You can

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Speaker 3: set your watch by electrons basically. So his synchronous motor

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Speaker 3: plugged into that sixty cycle a second electrical current, and

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Speaker 3: it created a motion that spun just as reliably as

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Speaker 3: those electrons switch poles back and forth sixty times a second.

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Speaker 1: That's right.

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Speaker 2: And if you're thinking, I don't even know what this means, guys,

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Speaker 2: who cares? What this means is all of a sudden,

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Speaker 2: you can electrify things that were previously not electrified. Yeah, like, oh,

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Speaker 2: I don't know that tickless clock that you still had

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Speaker 2: to wind over and over, like every clock in the

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Speaker 2: world that you had to wind over and over.

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Speaker 3: By the way, chuck, that tickless clock. The way it

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Speaker 3: was cliss is the motor was put into a soundproof box.

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Speaker 1: Yeah, pretty easy, which.

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Speaker 3: Means that you could also say it was a tick

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Speaker 3: in the box. Okay, So the synchronous motor though, this

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Speaker 3: was the fact that it was very precise, that it

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Speaker 3: was going to spin X number of times every second.

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Speaker 3: That was a really big deal because if you have

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Speaker 3: something that is that precise and that has is current,

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Speaker 3: is getting an electrical current that's keeping it that precise,

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Speaker 3: no matter what, you can do all sorts of things,

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Speaker 3: Like you said he had an electrical clock. You can

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Speaker 3: make little shutter spin in front of people's eyes without

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Speaker 3: them even realizing that they're spinning. All sorts of things

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Speaker 3: you can do with a synchronous motor, and that was

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Speaker 3: the basis of a lot of his inventions that followed.

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Speaker 1: All right, I think that was a great little tease setup.

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Speaker 3: I'm sorry for teasing you everybody.

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Speaker 2: No, I love it because people are going like, what

283
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Speaker 2: do you mean shutters in front of your eyes? Well,

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Speaker 2: we're gonna explain that right after this. We'll be right back,

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Speaker 2: all right. So Josh left a great little tease.

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Speaker 3: Sorry.

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Speaker 2: I did mention that he started making these clocks, but

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Speaker 2: this next thing actually happened first because he did have

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Speaker 2: a lot of success with the Hammond Clock Company because

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Speaker 2: everyone was like these electric clocks are amazing. I don't

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Speaker 2: want to wind my clock ever again, and you don't

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Speaker 2: have to. But before he found success there, he invented,

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Speaker 2: basically invented three D movies in the silent era of

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Speaker 2: cinema insane.

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Speaker 3: So remember from our stereogram, our magic Eye episode, Yeah,

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Speaker 3: this is perfect for this. It's basically the same stuff

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Speaker 3: going on around the same time. But he came up

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Speaker 3: with something called the tell aview, and you basically created

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Speaker 3: a film with two cameras set a little bit apart,

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Speaker 3: and now all of a sudden you've got two slightly

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Speaker 3: different perspectives of the same thing, which, as you remember

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Speaker 3: from our Stereograms episode, that I loves to turn into

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00:16:20,920 --> 00:16:26,000
Speaker 3: depth and perspective. So then you project the movie onto

304
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Speaker 3: the screen using those two projectors, not overlapping, but alternating

305
00:16:30,720 --> 00:16:33,440
Speaker 3: very quickly between the right image and the left image

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00:16:33,520 --> 00:16:36,560
Speaker 3: right image, left image. That sounds like a headache, and

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00:16:36,640 --> 00:16:39,760
Speaker 3: it probably would be if it weren't for the viewers

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00:16:40,400 --> 00:16:44,520
Speaker 3: that Hammond created that every seat had that you looked

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Speaker 3: at this movie through and when the left image was

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Speaker 3: up on the screen, a shutter closed over your right eye,

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Speaker 3: so all you could see was your left image. And

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Speaker 3: then the same thing for your right eye with the

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Speaker 3: right image, and this all happens so fast that your

314
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Speaker 3: brain didn't make note of it. All it saw were

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Speaker 3: two slightly different perspectives of the same thing and turned

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Speaker 3: it into what's called parallax depth based on your position

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00:17:12,280 --> 00:17:14,440
Speaker 3: of where you're sitting and where you're viewing an object.

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Speaker 2: Amazing, And again, this is all possible because of that

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Speaker 2: synchredous motor which was spinning these two little things in

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Speaker 2: front of your eyeballs exactly.

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Speaker 3: And that nuts. This was the twenties, and this guy

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Speaker 3: came up with three D and it worked really well.

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Speaker 3: It worked so well that people were a little put

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Speaker 3: off by it.

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Speaker 1: Yeah.

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Speaker 3: I read an article from The Atlantic that was written

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Speaker 3: in nineteen forty, a profile of John Hammond. They said

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Speaker 3: that the movie, the one movie that he made, Hello Mars,

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Speaker 3: was so crystal clear that it says close ups of

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Speaker 3: love scenes were almost embarrassing, and you could see the

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Speaker 3: sweat on the actor's faces. So apparently it was distracting.

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Speaker 3: It was so realistic and so lifelike that nobody was

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Speaker 3: following the plot and they were maybe even a little

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Speaker 3: put off.

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Speaker 2: All right, so this isn't working out as far as

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00:18:02,480 --> 00:18:05,359
Speaker 2: being a great business idea. But he was like, you

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00:18:05,400 --> 00:18:07,200
Speaker 2: know what, I still you know, I could make this

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00:18:07,359 --> 00:18:10,120
Speaker 2: thing without those little spinny goggles. He said, I could

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00:18:10,160 --> 00:18:13,040
Speaker 2: actually do it with colored lenses, these little cheap cardboard

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00:18:13,119 --> 00:18:17,679
Speaker 2: things that you know, in thirty years everyone was going

341
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Speaker 2: to think is the coolest thing ever.

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Speaker 1: And he did that.

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Speaker 2: He created some for Zigfield himself and the Zigfield Follies,

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Speaker 2: which was the biggest show going in Vaudeville and New York.

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Speaker 2: He called this the shadow graph, and he had actors

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Speaker 2: standing behind a transparent screen and he backlit them with

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Speaker 2: red and a green light spaced a few feet apart,

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Speaker 2: and then projected their shadows on the screen. And when

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Speaker 2: you wore those three D glasses, it again created depth

350
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Speaker 2: and it looked like they were sort of leaping off

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Speaker 2: the screen. And Zigfield loved this one. He was like,

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Speaker 2: I'll pay you seventy five thousand dollars to use this

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Speaker 2: stuff for two years, which is about one point three

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Speaker 2: million bucks today.

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Speaker 3: Do you know how many drachmas it is? How many

356
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Speaker 3: four hundred twenty million, five hundred and seventy eight four

357
00:19:03,400 --> 00:19:06,120
Speaker 3: plus drachmas today? Yeah?

358
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Speaker 2: So I mean by this point he's he's rich, or

359
00:19:09,520 --> 00:19:12,119
Speaker 2: at the very least, he can use that money to

360
00:19:12,280 --> 00:19:15,480
Speaker 2: fund doing whatever he wants to do invention wise.

361
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Speaker 3: Being an independent inventor. He's realized his dream by this point.

362
00:19:18,800 --> 00:19:21,640
Speaker 3: That's right in the twenty so he was in his twenties. Still,

363
00:19:21,800 --> 00:19:24,200
Speaker 3: it's pretty great stuff. Yeah. Also, I saw that this

364
00:19:24,359 --> 00:19:27,440
Speaker 3: is the only effect that Zigfield used over two seasons.

365
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Speaker 3: Zigfield like to keep things fresh and cutting edge, but

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00:19:31,000 --> 00:19:34,560
Speaker 3: he loved this, this the shadow graph so much that

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Speaker 3: he used it over two different seasons, which is kind

368
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Speaker 3: of an honor in and of itself.

369
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Speaker 1: Super cool.

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Speaker 3: So let's get back to that synchronous motor, the sixty

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Speaker 3: cycle second that was so reliable you could never have

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Speaker 3: to wind a clock from it, right, all right, he Well,

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Speaker 3: let's go back even further than that, Chuck, Let's go

374
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Speaker 3: back to the eighteen nineties, which is the same year

375
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Speaker 3: Hammon was born, eighteen ninety five, and there's an American

376
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Speaker 3: inventor named that is Khill, who was the first person

377
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Speaker 3: to come up with an electro an electro mechanical not

378
00:20:07,240 --> 00:20:11,440
Speaker 3: strictly electronic, but it had some gears and stuff to it,

379
00:20:11,560 --> 00:20:15,720
Speaker 3: so it was electro mechanical. It's called the teleharmonium. And well,

380
00:20:16,080 --> 00:20:19,080
Speaker 3: let's go back even further than that, Chuck, okay to

381
00:20:19,160 --> 00:20:21,320
Speaker 3: the eighteen sixties, and we're going to hop on over

382
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Speaker 3: to Germany.

383
00:20:22,320 --> 00:20:25,520
Speaker 2: All right, I'm picking up what you're laying down. There

384
00:20:25,560 --> 00:20:30,080
Speaker 2: was a German scientist named Hermann von Helmholtz.

385
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Speaker 3: And he.

386
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Speaker 2: He knew music a little bit, and he's like, here's

387
00:20:34,520 --> 00:20:36,960
Speaker 2: one thing I know is that when you hear a

388
00:20:37,040 --> 00:20:39,680
Speaker 2: musical note, it's a sound way that you're hearing vibrating

389
00:20:39,760 --> 00:20:43,160
Speaker 2: at a frequency, like if you hear an a key

390
00:20:43,280 --> 00:20:46,680
Speaker 2: on a piano, it's vibrating at a very specific frequency

391
00:20:46,760 --> 00:20:50,080
Speaker 2: that makes the sound of what you would call an

392
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Speaker 2: a note. But here's the deal, he said, it sounds

393
00:20:54,359 --> 00:20:57,040
Speaker 2: more than an a note. It's very warm and there's

394
00:20:57,200 --> 00:21:00,320
Speaker 2: depth to it. And he figured out what you're hearing

395
00:21:00,440 --> 00:21:03,080
Speaker 2: is called a harmonic, which is, you know, when one

396
00:21:03,119 --> 00:21:06,360
Speaker 2: thing vibrates, things near it are also activated and maybe

397
00:21:06,480 --> 00:21:10,840
Speaker 2: vibrate a little bit, and these little background frequencies vibrating

398
00:21:10,880 --> 00:21:13,280
Speaker 2: along with that a note create this richer, fuller sound

399
00:21:13,359 --> 00:21:14,080
Speaker 2: called the harmonic.

400
00:21:14,480 --> 00:21:17,920
Speaker 3: Yeah, so, Hemholtz. This big contribution in the eighteen sixties

401
00:21:18,720 --> 00:21:23,160
Speaker 3: is to chart all of these harmonics. Yeah, so from

402
00:21:23,240 --> 00:21:25,440
Speaker 3: what I understand, then he would go through and say

403
00:21:25,560 --> 00:21:30,040
Speaker 3: an a on a cello has all these accompanying vibrations,

404
00:21:30,280 --> 00:21:32,800
Speaker 3: and a on a violin has all these different vibrations

405
00:21:33,000 --> 00:21:36,240
Speaker 3: and wrote them out as frequencies. Right, So he created

406
00:21:36,760 --> 00:21:42,160
Speaker 3: a scientific mathematic roadmap to recreating those frequencies using something

407
00:21:42,280 --> 00:21:45,240
Speaker 3: other than a cello or other than a violin. If

408
00:21:45,320 --> 00:21:49,000
Speaker 3: you have that information and you can reproduce those frequencies together,

409
00:21:49,520 --> 00:21:54,440
Speaker 3: they will make an artificial sound of a violin or

410
00:21:54,440 --> 00:21:59,000
Speaker 3: an artificial sound of a cello. This is what Helmholtz contributed,

411
00:21:59,040 --> 00:22:01,680
Speaker 3: which is pretty significe to kill.

412
00:22:01,880 --> 00:22:03,560
Speaker 1: All right, So back to k Hill again.

413
00:22:03,720 --> 00:22:07,600
Speaker 2: He was the American inventor who invented the first electro mechanical.

414
00:22:07,640 --> 00:22:09,159
Speaker 2: I don't even think you said musical instrument?

415
00:22:10,000 --> 00:22:14,360
Speaker 3: Did I just stop with electro mechanical? Yeah? Man, what sloppy.

416
00:22:15,359 --> 00:22:17,040
Speaker 2: That was called now you're not, You're great. That's called

417
00:22:17,080 --> 00:22:20,960
Speaker 2: the That was called the telehrmonium. And he created something

418
00:22:21,000 --> 00:22:23,320
Speaker 2: called the tone wheel, and it was you really should

419
00:22:23,320 --> 00:22:25,040
Speaker 2: look it up. It's kind of hard to describe. It's

420
00:22:25,119 --> 00:22:29,760
Speaker 2: this this very large disc shaped motor. It has cogs

421
00:22:29,800 --> 00:22:33,719
Speaker 2: and when you spin that rotor that working with a magnet,

422
00:22:33,840 --> 00:22:35,600
Speaker 2: like you know, the same way you would with an

423
00:22:35,720 --> 00:22:39,879
Speaker 2: electric guitar. Pickup the cogs passed through a magnetic field

424
00:22:40,280 --> 00:22:43,280
Speaker 2: by this coiled copper wire around the magnet, and if

425
00:22:43,320 --> 00:22:46,040
Speaker 2: you spin it at a steady pace, it's going to

426
00:22:46,200 --> 00:22:50,520
Speaker 2: generate a very specific frequency, an electrical frequency, And if

427
00:22:50,560 --> 00:22:53,119
Speaker 2: you amplify that, that's where you're going to finally hear

428
00:22:53,160 --> 00:22:57,320
Speaker 2: that musical tone come out that Hemholtz was talking about

429
00:22:57,320 --> 00:22:58,159
Speaker 2: so many years earlier.

430
00:22:58,560 --> 00:23:02,360
Speaker 3: Yeah, so what if you have say four hundred cogs

431
00:23:02,960 --> 00:23:06,440
Speaker 3: on this tone wheel, and they passed through the electrical

432
00:23:06,520 --> 00:23:09,720
Speaker 3: field four hundred times a second, it makes one full

433
00:23:09,760 --> 00:23:14,000
Speaker 3: revolution per second, it will generate a current with a

434
00:23:14,080 --> 00:23:17,400
Speaker 3: frequency of four hundred hertz, and that is the same

435
00:23:17,520 --> 00:23:20,800
Speaker 3: frequency as an A four note. So what K. Hills

436
00:23:20,840 --> 00:23:24,000
Speaker 3: has just done is create a way to reproduce that

437
00:23:24,280 --> 00:23:26,720
Speaker 3: a four note or any note you want to if

438
00:23:26,720 --> 00:23:30,160
Speaker 3: you can figure out what the frequency is thanks to Hemholtz,

439
00:23:30,720 --> 00:23:34,920
Speaker 3: and then build a coog that has that number of

440
00:23:36,080 --> 00:23:40,080
Speaker 3: little prongs or something on it thanks to K. Hill.

441
00:23:40,480 --> 00:23:43,000
Speaker 2: Right, So what he did, like we mentioned, was create

442
00:23:43,080 --> 00:23:46,000
Speaker 2: that teleharmonium, which was sort of like you said, the

443
00:23:46,280 --> 00:23:46,960
Speaker 2: very first.

444
00:23:48,359 --> 00:23:51,639
Speaker 1: Electro mechanical instrument. But it was a problem because it

445
00:23:51,800 --> 00:23:53,639
Speaker 1: was huge.

446
00:23:53,880 --> 00:23:56,879
Speaker 2: It weighed two hundred tons, it costs what would be

447
00:23:57,080 --> 00:23:59,399
Speaker 2: seven million dollars today, and it was the size of

448
00:23:59,400 --> 00:24:00,400
Speaker 2: a huge train car.

449
00:24:00,840 --> 00:24:02,919
Speaker 3: Two point two billion drachmas.

450
00:24:03,760 --> 00:24:07,399
Speaker 2: So obviously this thing's not going to sell. Nobody's interested

451
00:24:07,520 --> 00:24:09,840
Speaker 2: in a telharmonium. But that really set the stage for

452
00:24:09,920 --> 00:24:10,919
Speaker 2: Larry Hammond's work.

453
00:24:11,480 --> 00:24:15,359
Speaker 3: Definitely so. And that's a really important point for inventors

454
00:24:15,480 --> 00:24:19,240
Speaker 3: to whenever you talk about an inventor, very very rare

455
00:24:19,359 --> 00:24:22,720
Speaker 3: that somebody comes up with a full idea from scratch,

456
00:24:23,240 --> 00:24:25,320
Speaker 3: you know, they stand on the shoulders of giants. They

457
00:24:25,359 --> 00:24:27,920
Speaker 3: always say, that's what Hammond did. He was the first

458
00:24:27,960 --> 00:24:30,600
Speaker 3: person to figure out how to make this stuff practical,

459
00:24:31,040 --> 00:24:33,639
Speaker 3: and he had the wit and the brains and the

460
00:24:34,680 --> 00:24:38,600
Speaker 3: interest to make it happen. And so after k Hill

461
00:24:38,720 --> 00:24:41,639
Speaker 3: basically gave up because he created a seven million dollars

462
00:24:41,680 --> 00:24:45,320
Speaker 3: two hundred ton train car of a electro mechanical instrument,

463
00:24:47,160 --> 00:24:49,159
Speaker 3: Hammond's was like, I'm going to pick this up. I

464
00:24:49,440 --> 00:24:53,080
Speaker 3: never saw Chuck if he knew about k Hill's invention,

465
00:24:53,359 --> 00:24:56,560
Speaker 3: or how he knew about k Hill's invention, or if

466
00:24:56,600 --> 00:24:59,160
Speaker 3: he was inspired by Kle I'm not sure. I think

467
00:24:59,240 --> 00:25:03,439
Speaker 3: that it was who. I don't know, but he basically

468
00:25:03,480 --> 00:25:05,680
Speaker 3: took the tone wheel. However, he heard about it, and

469
00:25:05,760 --> 00:25:08,160
Speaker 3: he figured out how to make it much smaller, much

470
00:25:08,280 --> 00:25:11,400
Speaker 3: more practical. Rather than the size of like a huge cylinder,

471
00:25:11,680 --> 00:25:14,480
Speaker 3: it was a size about a silver dollar. And when

472
00:25:14,520 --> 00:25:18,199
Speaker 3: you get something that is that useful down to that size,

473
00:25:18,400 --> 00:25:19,920
Speaker 3: you can put a bunch of them together and do

474
00:25:20,480 --> 00:25:22,680
Speaker 3: some really amazing stuff. And that's what he did. That

475
00:25:22,800 --> 00:25:25,880
Speaker 3: was the basis of the Hammond organ That's right.

476
00:25:26,359 --> 00:25:28,879
Speaker 2: It didn't initially start out that way though. He had been,

477
00:25:29,040 --> 00:25:31,800
Speaker 2: like I said, selling a lot of electric clocks, was

478
00:25:31,880 --> 00:25:35,439
Speaker 2: making pretty good money doing that, but then everybody started

479
00:25:35,480 --> 00:25:39,320
Speaker 2: making electric clocks and his company wasn't as valuable all

480
00:25:39,320 --> 00:25:41,520
Speaker 2: of a sudden. And I don't think we mentioned that

481
00:25:41,600 --> 00:25:44,439
Speaker 2: he was. He was an independent adventure but he wanted

482
00:25:44,640 --> 00:25:47,200
Speaker 2: to put people to work, like he was very proud

483
00:25:47,280 --> 00:25:51,440
Speaker 2: of supplying jobs to people. And he always wanted to

484
00:25:51,480 --> 00:25:55,560
Speaker 2: have like his successful company, you know, certainly to enrich himself,

485
00:25:55,600 --> 00:25:58,160
Speaker 2: but also so he could so he could put people

486
00:25:58,160 --> 00:25:59,560
Speaker 2: to work. I mean, this was a lot of this

487
00:25:59,600 --> 00:26:01,560
Speaker 2: stuff was during the depression. A lot of his work

488
00:26:01,760 --> 00:26:04,400
Speaker 2: was so he's really proud of putting Americans to work.

489
00:26:04,440 --> 00:26:07,200
Speaker 2: And I think Hammond eventually ended up having like three

490
00:26:07,280 --> 00:26:10,840
Speaker 2: thousand employees when the organ was at its peak, which

491
00:26:10,920 --> 00:26:12,120
Speaker 2: was a really big deal to him.

492
00:26:12,960 --> 00:26:15,199
Speaker 1: But the clock is slowing down, not literally.

493
00:26:16,080 --> 00:26:18,359
Speaker 2: The business was though, and he was a little nervous

494
00:26:18,359 --> 00:26:21,280
Speaker 2: about what to do to keep the doors open. So

495
00:26:22,000 --> 00:26:26,359
Speaker 2: he initially thought of this tiny tone wheel thing to

496
00:26:26,520 --> 00:26:28,959
Speaker 2: just make like a sound, and like, hey, it can

497
00:26:29,040 --> 00:26:31,320
Speaker 2: be a gimmick, a little gadget and you can have

498
00:26:31,400 --> 00:26:33,119
Speaker 2: this little tone wheel and plug it in and it

499
00:26:33,160 --> 00:26:35,000
Speaker 2: makes a sound and kids will love it, almost like

500
00:26:35,040 --> 00:26:40,840
Speaker 2: a toy. But he had a assistant treasurer at Hammond

501
00:26:41,400 --> 00:26:44,560
Speaker 2: that was a church organist, and the organist was like, man,

502
00:26:44,640 --> 00:26:47,399
Speaker 2: you should make an organ. Like if you can make

503
00:26:47,440 --> 00:26:49,480
Speaker 2: one sound, you can make a lot of them. And

504
00:26:49,760 --> 00:26:53,359
Speaker 2: apparently Hammond loved the sound of a pipe organ, and

505
00:26:53,760 --> 00:26:57,040
Speaker 2: that was it. He had the other thing, which was

506
00:26:57,200 --> 00:26:58,920
Speaker 2: kind of funny that he was making a lot of

507
00:26:58,960 --> 00:27:02,960
Speaker 2: money on there also when away was this auto dealing

508
00:27:03,080 --> 00:27:06,240
Speaker 2: bridge table. It was a bridge table that under the

509
00:27:06,280 --> 00:27:09,400
Speaker 2: table had a little mechanical system that shuffled and dealt

510
00:27:09,480 --> 00:27:13,159
Speaker 2: cards literally under the table to each player, and he

511
00:27:13,280 --> 00:27:17,040
Speaker 2: sold fourteen thousand of those wow in two years.

512
00:27:17,400 --> 00:27:18,920
Speaker 1: But then everyone got tired of that.

513
00:27:19,080 --> 00:27:21,159
Speaker 2: So he was always looking for the next thing to

514
00:27:21,280 --> 00:27:25,480
Speaker 2: keep the doors open, and this, like, let's replicate a

515
00:27:25,520 --> 00:27:26,919
Speaker 2: pipe organ, was the next big thing.

516
00:27:27,440 --> 00:27:29,480
Speaker 3: Yeah. One other thing about him. As a boss too

517
00:27:29,600 --> 00:27:31,959
Speaker 3: and a company owner, he was smart enough to surround

518
00:27:32,040 --> 00:27:35,960
Speaker 3: himself with other very smart engineers, and in particular is

519
00:27:36,000 --> 00:27:40,399
Speaker 3: a guy named John Hannert who basically co created the

520
00:27:40,480 --> 00:27:45,720
Speaker 3: Hammond organ with Hammond. I almost have the impression that

521
00:27:46,480 --> 00:27:48,879
Speaker 3: of the two, Hammond was the idea guy and Hannert

522
00:27:49,000 --> 00:27:50,399
Speaker 3: was the one who figured out how to do it.

523
00:27:51,560 --> 00:27:53,240
Speaker 3: But when you put them together, what they did was

524
00:27:53,359 --> 00:27:57,040
Speaker 3: they took these tone wheels and at the behest of

525
00:27:57,160 --> 00:28:02,040
Speaker 3: the organ, playing treasurer at the Hammond company realized that

526
00:28:02,320 --> 00:28:05,960
Speaker 3: if you took ninety one of them, you could essentially

527
00:28:06,240 --> 00:28:10,840
Speaker 3: reproduce all the sounds that a pipe organ could make,

528
00:28:11,520 --> 00:28:14,080
Speaker 3: which is really something because a pipe organ can make

529
00:28:14,280 --> 00:28:16,960
Speaker 3: quite a bit of very rich sounds, a lot of

530
00:28:17,040 --> 00:28:19,640
Speaker 3: different sounds. That's kind of the point of a pipe organ.

531
00:28:19,880 --> 00:28:23,600
Speaker 3: I didn't realize until researching this is that it's meant

532
00:28:23,680 --> 00:28:25,919
Speaker 3: to not only just sound like an organ, but it's

533
00:28:25,960 --> 00:28:29,480
Speaker 3: also meant to mimic other instruments, and it does that

534
00:28:29,960 --> 00:28:32,840
Speaker 3: by mimicking the timber of a different thing. A timber

535
00:28:33,000 --> 00:28:35,200
Speaker 3: is like like you were talking about, where if you

536
00:28:35,280 --> 00:28:37,919
Speaker 3: play an A on a piano, it sounds different than

537
00:28:37,920 --> 00:28:40,800
Speaker 3: an A on a cello. Well, the difference is timber.

538
00:28:41,280 --> 00:28:43,960
Speaker 3: And if you can again figure out the harmonics surrounding

539
00:28:44,000 --> 00:28:47,480
Speaker 3: that note, you can recreate what it sounds like on

540
00:28:47,600 --> 00:28:50,040
Speaker 3: a piano in a or an A on a cello

541
00:28:50,400 --> 00:28:53,080
Speaker 3: and that pipe. Organs were able to do this. They

542
00:28:53,120 --> 00:28:56,680
Speaker 3: did it using compressed air mechanical stuff. John Hammon was

543
00:28:56,680 --> 00:28:58,280
Speaker 3: the one who's like, I can take one of these

544
00:28:58,320 --> 00:29:01,200
Speaker 3: giant things and size it down and make this whole

545
00:29:01,360 --> 00:29:04,080
Speaker 3: The same thing happen with electronics.

546
00:29:04,680 --> 00:29:06,719
Speaker 2: Yeah, it's like you know today, if you go buy

547
00:29:07,080 --> 00:29:14,560
Speaker 2: a cassio keyboard, it's going to say, you know, horns, strings, right, flute, trumpet,

548
00:29:14,640 --> 00:29:18,960
Speaker 2: guitar and those things never sound. Strings do a pretty

549
00:29:19,000 --> 00:29:22,520
Speaker 2: good job, but you know when you hit the if

550
00:29:22,560 --> 00:29:24,960
Speaker 2: you play a series of horns, you're not going to

551
00:29:25,000 --> 00:29:26,960
Speaker 2: say like, oh my gosh, is they're a mariachi band

552
00:29:27,040 --> 00:29:31,280
Speaker 2: in here. It approximates the sound in a fun and

553
00:29:31,480 --> 00:29:32,040
Speaker 2: useful way.

554
00:29:32,240 --> 00:29:34,479
Speaker 3: Even the samba beat's not going to dress that up

555
00:29:34,600 --> 00:29:38,160
Speaker 3: enough to pass muster, but you're right.

556
00:29:38,200 --> 00:29:40,280
Speaker 1: At the very least, this was like a big deal.

557
00:29:40,360 --> 00:29:43,600
Speaker 2: Pipeworkins could do it to get different sounds that would

558
00:29:43,640 --> 00:29:46,400
Speaker 2: you know, like this is a flute or an organ

559
00:29:46,480 --> 00:29:47,160
Speaker 2: version of a flute.

560
00:29:47,200 --> 00:29:49,880
Speaker 3: Essentially, Yeah, they're called those were the stops. Like you

561
00:29:49,920 --> 00:29:53,920
Speaker 3: would pull a stop to let a rank or timber

562
00:29:54,120 --> 00:29:57,760
Speaker 3: of pipes play. You could close the stop to keep

563
00:29:57,800 --> 00:29:59,840
Speaker 3: that one from playing and allow other ones to play.

564
00:30:00,080 --> 00:30:02,160
Speaker 3: One of Hammon's big breakthroughs was to figure out how

565
00:30:02,200 --> 00:30:04,080
Speaker 3: to do that again electronically.

566
00:30:04,760 --> 00:30:05,000
Speaker 1: Yeah.

567
00:30:05,160 --> 00:30:07,200
Speaker 2: Like, if you've ever seen a pipe organ up close,

568
00:30:07,280 --> 00:30:10,480
Speaker 2: they have these little round knobs and that's called the

569
00:30:10,520 --> 00:30:12,280
Speaker 2: stop knob, and it's either on or off, and you

570
00:30:12,360 --> 00:30:14,520
Speaker 2: pull it in or pull it out, and that's letting

571
00:30:14,640 --> 00:30:17,800
Speaker 2: compressed pressurized air in or out to change the sound.

572
00:30:17,960 --> 00:30:20,040
Speaker 3: I saw that. That's where the term the phrase pulling

573
00:30:20,040 --> 00:30:21,959
Speaker 3: out all the stops comes from. When you have all

574
00:30:22,000 --> 00:30:25,200
Speaker 3: the stops open, all the type are playing at the

575
00:30:25,280 --> 00:30:28,000
Speaker 3: same time, which is yeah, pretty cool.

576
00:30:28,960 --> 00:30:33,280
Speaker 1: So Hammond figures all this out. He gets a piano guts.

577
00:30:33,360 --> 00:30:37,760
Speaker 2: It installs platinum switches, installs eight and a half miles

578
00:30:37,840 --> 00:30:43,280
Speaker 2: of wiring, installs hundreds of transistors, and they are spinning

579
00:30:43,400 --> 00:30:45,800
Speaker 2: these tiny tone wheel motors when you press a key,

580
00:30:46,480 --> 00:30:48,880
Speaker 2: and it's it's pretty ingenious. So all of a sudden,

581
00:30:48,920 --> 00:30:51,680
Speaker 2: he's electrified this thing, even though he doesn't play a

582
00:30:51,760 --> 00:30:57,280
Speaker 2: musical instrument, and he's instead of using these these mechanical stops,

583
00:30:57,320 --> 00:31:01,280
Speaker 2: he has these these switches called tone bars. So if

584
00:31:01,280 --> 00:31:03,720
Speaker 2: you ever see a Hammon organ and you see above

585
00:31:03,800 --> 00:31:07,040
Speaker 2: the keys there kind of where the stop knobs are

586
00:31:07,080 --> 00:31:09,920
Speaker 2: in an organ, they're these little little bars that you

587
00:31:10,080 --> 00:31:13,720
Speaker 2: can just pull in or out and it has the

588
00:31:13,760 --> 00:31:17,760
Speaker 2: same effect basically. And you know, depending on who you are,

589
00:31:17,920 --> 00:31:21,560
Speaker 2: you might have your favorite tone bar settings for different songs.

590
00:31:22,480 --> 00:31:25,840
Speaker 2: I think the classic, like Jimmy Smith was this guy

591
00:31:25,920 --> 00:31:29,520
Speaker 2: that was sort of really popularized at jazz organ and

592
00:31:29,920 --> 00:31:32,600
Speaker 2: everyone knows like this is the Jimmy Smith setting. Like

593
00:31:32,640 --> 00:31:34,240
Speaker 2: if you go to YouTube and you're talking about different

594
00:31:34,280 --> 00:31:36,600
Speaker 2: tone bar settings, they'd be like, oh, yeah, Jimmy Smith

595
00:31:36,640 --> 00:31:38,680
Speaker 2: pulled all three of these on the left out and

596
00:31:38,720 --> 00:31:41,400
Speaker 2: that was his setting, and you can replicate this stuff.

597
00:31:41,440 --> 00:31:42,040
Speaker 1: It's pretty cool.

598
00:31:42,360 --> 00:31:45,719
Speaker 3: Yeah, So One of the things that Hammond was interested

599
00:31:45,800 --> 00:31:49,640
Speaker 3: in doing too, was rather than say, you know, make

600
00:31:49,720 --> 00:31:52,640
Speaker 3: this combination and it's the strings, or make this combination

601
00:31:52,760 --> 00:31:55,560
Speaker 3: it's the flute. Yeah, he left it up to the person.

602
00:31:55,680 --> 00:31:58,200
Speaker 3: So like those those stops would have to do with

603
00:31:58,320 --> 00:32:02,600
Speaker 3: like attack and decay, like how fast the sound started

604
00:32:02,680 --> 00:32:05,760
Speaker 3: and how long it took to finally like go silent again.

605
00:32:06,920 --> 00:32:08,720
Speaker 3: These were like what the sound bars were doing. It

606
00:32:08,800 --> 00:32:10,680
Speaker 3: wasn't like, oh, I'll press this button and now it's

607
00:32:10,720 --> 00:32:12,640
Speaker 3: a string and the reason why I did that. He'd

608
00:32:12,760 --> 00:32:15,800
Speaker 3: likened it in an interview. I saw to how like

609
00:32:15,880 --> 00:32:19,880
Speaker 3: a true painter would never buy a flesh pink paint.

610
00:32:20,520 --> 00:32:23,080
Speaker 3: They would they would buy a red paint and a

611
00:32:23,160 --> 00:32:26,120
Speaker 3: white paint, and you know, orange paint and green paint,

612
00:32:26,160 --> 00:32:29,040
Speaker 3: but like they would make their own paint. He was saying,

613
00:32:29,160 --> 00:32:33,440
Speaker 3: like his ham and organ allows an organist to create

614
00:32:33,520 --> 00:32:37,600
Speaker 3: their own sounds by putting together this basic stuff and

615
00:32:37,680 --> 00:32:41,800
Speaker 3: creating something incredibly rich. And in fact, I think they

616
00:32:42,040 --> 00:32:45,760
Speaker 3: calculated that there were two hundred and fifty three million

617
00:32:45,920 --> 00:32:48,800
Speaker 3: possible tonal variations that you could come up with with

618
00:32:49,000 --> 00:32:49,840
Speaker 3: the Hammond Organ.

619
00:32:50,360 --> 00:32:55,120
Speaker 2: Amazing. That's from thirty eight drawbars really really cool. Yeah,

620
00:32:55,280 --> 00:32:59,000
Speaker 2: for sure, should we take a breaker now, I was

621
00:32:59,120 --> 00:33:00,800
Speaker 2: gonna say we should probably take a break.

622
00:33:01,160 --> 00:33:33,600
Speaker 3: Yeah, yeah, all right, let's do it. So Hammond's Organs

623
00:33:33,680 --> 00:33:38,080
Speaker 3: took off really quickly. I think he sold fourteen hundred

624
00:33:38,160 --> 00:33:41,120
Speaker 3: or something like that the first year. Imagine that, chuck. Yeah,

625
00:33:41,120 --> 00:33:44,040
Speaker 3: it's a lot so and I think they were originally

626
00:33:44,080 --> 00:33:47,440
Speaker 3: about thirty thousand dollars today. I don't know how many drakmas,

627
00:33:47,480 --> 00:33:49,240
Speaker 3: but they were twelve hundred and fifty dollars in the

628
00:33:49,320 --> 00:33:54,560
Speaker 3: thirties the mid thirties, and it's a lot of money.

629
00:33:54,720 --> 00:33:56,520
Speaker 3: Like you had to be wealthy, and you had to

630
00:33:56,560 --> 00:33:59,120
Speaker 3: be really into music, or you had to have a

631
00:33:59,240 --> 00:34:02,360
Speaker 3: church that was kind of wealthy to afford it. But

632
00:34:02,480 --> 00:34:08,200
Speaker 3: that's who he marketed to, serious musicians, home musicians, professional musicians,

633
00:34:08,239 --> 00:34:12,719
Speaker 3: but also churches more than anything. And it worked. Like

634
00:34:12,800 --> 00:34:15,200
Speaker 3: you sold fourteen in the first year.

635
00:34:16,040 --> 00:34:19,640
Speaker 2: Yeah, George Gershwin supposedly the first person to buy one,

636
00:34:19,880 --> 00:34:22,759
Speaker 2: even though Henry Ford said he wanted the first six.

637
00:34:23,800 --> 00:34:26,080
Speaker 2: But as the story goes, George Gershwan got the first.

638
00:34:27,400 --> 00:34:30,120
Speaker 2: He's selling to a like you said, a lot of churches.

639
00:34:30,200 --> 00:34:33,839
Speaker 2: I think what was the number, like by nineteen sixty five,

640
00:34:34,400 --> 00:34:38,000
Speaker 2: more than fifty thousand churches had Hammond organs. By nineteen

641
00:34:38,040 --> 00:34:42,520
Speaker 2: thirty eight there were one thousand churches, but also baseball stadium.

642
00:34:42,600 --> 00:34:43,960
Speaker 1: So if you've ever been to a baseball.

643
00:34:43,680 --> 00:34:47,719
Speaker 2: Stadium, they play those Hammond organs radio soap operas very

644
00:34:47,760 --> 00:34:50,960
Speaker 2: early on, you know started you know, if you remember

645
00:34:51,080 --> 00:34:53,640
Speaker 2: like the dramatic music of us So on the radio,

646
00:34:53,800 --> 00:34:58,600
Speaker 2: that was an organ, a Hammond organ. So nineteen thirty six,

647
00:34:58,800 --> 00:35:01,600
Speaker 2: this is just one year into the Hammond organ. Things

648
00:35:01,640 --> 00:35:06,080
Speaker 2: are really really doing well. And the pipe organ industry

649
00:35:06,600 --> 00:35:10,480
Speaker 2: starts complaining to the FTC and they're like, this guy

650
00:35:10,640 --> 00:35:14,120
Speaker 2: is out there making all these claims about how you

651
00:35:14,200 --> 00:35:18,040
Speaker 2: can replicate every sound on a pipe organ, how it

652
00:35:18,560 --> 00:35:21,160
Speaker 2: sounds the same as a ten thousand dollars pipe organ,

653
00:35:21,800 --> 00:35:24,080
Speaker 2: and like these are false claims and he can't say

654
00:35:24,160 --> 00:35:28,680
Speaker 2: that stuff. So the FTC started snooping around and they said,

655
00:35:28,760 --> 00:35:32,280
Speaker 2: you know what, you can't make these claims. You can't

656
00:35:32,680 --> 00:35:36,480
Speaker 2: say that stuff in your ads, and we're going to

657
00:35:36,520 --> 00:35:38,400
Speaker 2: give you a cease and desist letter that says like

658
00:35:38,480 --> 00:35:42,120
Speaker 2: what you can and can't say. And Hammond says, you

659
00:35:42,200 --> 00:35:44,040
Speaker 2: know what we should do, We should have a blind

660
00:35:44,239 --> 00:35:47,680
Speaker 2: listening test of it's like a John Henry thing, like

661
00:35:47,880 --> 00:35:50,440
Speaker 2: my little I think it was a twenty six hundred

662
00:35:50,440 --> 00:35:53,320
Speaker 2: dollars organ that he used and a seventy five thousand

663
00:35:53,360 --> 00:35:55,520
Speaker 2: dollars pipe organ and let's go head to head and

664
00:35:55,640 --> 00:35:57,719
Speaker 2: have experts listen in and say what they think.

665
00:35:57,960 --> 00:36:00,160
Speaker 3: Yeah, so that's what they staged I think, I think

666
00:36:00,200 --> 00:36:01,359
Speaker 3: in nineteen thirty six.

667
00:36:02,680 --> 00:36:05,000
Speaker 2: Yeah, well I think that happened in thirty seven, but

668
00:36:05,400 --> 00:36:07,040
Speaker 2: this had been he'd been fighting with the FTC for

669
00:36:07,120 --> 00:36:07,759
Speaker 2: a while at that point.

670
00:36:07,880 --> 00:36:10,359
Speaker 3: Okay, so yeah, that was exactly the kind of guy

671
00:36:10,480 --> 00:36:12,920
Speaker 3: he was. He would he was exactly the kind of

672
00:36:12,960 --> 00:36:15,160
Speaker 3: person to come up with a blind listening test to

673
00:36:15,280 --> 00:36:18,239
Speaker 3: settle things with the FTC. You know, that's not how

674
00:36:18,280 --> 00:36:20,920
Speaker 3: the FTC did things, but John Hammond kind of made

675
00:36:20,960 --> 00:36:23,040
Speaker 3: them do it that way. And it was really really

676
00:36:23,120 --> 00:36:28,239
Speaker 3: risky because he he would have been essentially guilty of

677
00:36:28,560 --> 00:36:31,160
Speaker 3: unfair business practices and that could have all sorts of

678
00:36:31,280 --> 00:36:33,520
Speaker 3: terrible effects. But from what I saw that they weren't

679
00:36:33,560 --> 00:36:35,560
Speaker 3: going to let him use the name or the word

680
00:36:35,760 --> 00:36:40,360
Speaker 3: organ for his instrument anymore. H Really, I'm guessing that

681
00:36:40,440 --> 00:36:43,000
Speaker 3: that would have had a pretty big damper on business

682
00:36:43,080 --> 00:36:45,160
Speaker 3: as well. So he had a lot riding on this

683
00:36:45,280 --> 00:36:49,239
Speaker 3: blind test, and it was very mavericky to suggest it

684
00:36:49,320 --> 00:36:51,839
Speaker 3: in the first place. But in nineteen thirty seven at

685
00:36:51,880 --> 00:36:54,759
Speaker 3: the University of Chicago Chapel they went head to head.

686
00:36:55,120 --> 00:37:00,759
Speaker 3: They hid speakers, Hammond speakers among the pipes, and put

687
00:37:00,880 --> 00:37:04,080
Speaker 3: both the organ, the hammin organ and the pipe organ

688
00:37:04,160 --> 00:37:09,080
Speaker 3: behind screens, and they had thirty different little pieces of

689
00:37:09,200 --> 00:37:12,960
Speaker 3: music and each one played fifteen, and that panel of

690
00:37:13,040 --> 00:37:15,759
Speaker 3: judges that you mentioned, they marked down which of those

691
00:37:15,880 --> 00:37:19,360
Speaker 3: thirty they thought had played it the pipe organ or

692
00:37:19,400 --> 00:37:20,160
Speaker 3: the hammin organ.

693
00:37:20,760 --> 00:37:24,400
Speaker 2: Yeah, and these were professional musicians judging. I think there

694
00:37:24,440 --> 00:37:27,680
Speaker 2: were nine of them. Most of them were organists, of course.

695
00:37:28,400 --> 00:37:32,600
Speaker 2: And then he also had fifteen college students, and he

696
00:37:32,880 --> 00:37:37,960
Speaker 2: ended up basically winning. I think they I saw different

697
00:37:38,080 --> 00:37:42,000
Speaker 2: numbers of how much they were correctly identifying. They were

698
00:37:42,040 --> 00:37:43,640
Speaker 2: wrong a third of the time. I saw they were

699
00:37:43,680 --> 00:37:47,480
Speaker 2: wrong half of the time. At the end of the day,

700
00:37:47,560 --> 00:37:50,760
Speaker 2: what happened was the FTC said, and this is nineteen

701
00:37:50,840 --> 00:37:52,759
Speaker 2: thirty eight by this point, so this thing's dragging out.

702
00:37:53,320 --> 00:37:56,640
Speaker 2: They said, all right, here's a new season dissorder. You

703
00:37:56,760 --> 00:37:59,759
Speaker 2: can't say it can reproduce a ten thousand dollars organ

704
00:38:00,320 --> 00:38:03,520
Speaker 2: because they could tell the difference there. But you know,

705
00:38:03,840 --> 00:38:07,319
Speaker 2: they did find that produced like other words that were using,

706
00:38:07,560 --> 00:38:10,799
Speaker 2: was that it sounded real, that it was produced fine music,

707
00:38:10,880 --> 00:38:13,480
Speaker 2: that it produced beautiful music. And he was able to

708
00:38:13,640 --> 00:38:17,839
Speaker 2: use this wordage and all his ads moving forward, which

709
00:38:17,880 --> 00:38:19,440
Speaker 2: he took as a big victory.

710
00:38:19,719 --> 00:38:21,960
Speaker 3: Yeah, oh for sure. And I believe it was out

711
00:38:22,000 --> 00:38:24,800
Speaker 3: of that battle where they calculated the two hundred and

712
00:38:24,840 --> 00:38:29,120
Speaker 3: fifty three million different tonal sounds. Oh interesting, And I

713
00:38:29,280 --> 00:38:31,600
Speaker 3: believe they started using that for marketing too, because if

714
00:38:31,680 --> 00:38:35,600
Speaker 3: you ask me, if I'm just an ordinary Joe, two

715
00:38:35,719 --> 00:38:39,800
Speaker 3: hundred and fifty three million different tones and makes the

716
00:38:40,040 --> 00:38:42,360
Speaker 3: as good a sound as a pipe organ, I'm gonna

717
00:38:42,480 --> 00:38:44,440
Speaker 3: be more wowed by the two hundred and fifty three

718
00:38:44,480 --> 00:38:47,640
Speaker 3: million tones, even though the pipe organ makes three hundred

719
00:38:47,680 --> 00:38:50,759
Speaker 3: million different tones, because the pipe organ people aren't out

720
00:38:50,760 --> 00:38:52,040
Speaker 3: there marketing to me like that.

721
00:38:52,239 --> 00:38:56,000
Speaker 1: And John Hammond is so if you're a Joe keyboardist, yeah,

722
00:38:56,080 --> 00:38:58,480
Speaker 1: you see the value in this thing, for sure.

723
00:38:59,360 --> 00:38:59,840
Speaker 3: I agree.

724
00:39:00,239 --> 00:39:02,040
Speaker 1: Everyone talked about Joe the plumber. No one ever talked

725
00:39:02,080 --> 00:39:02,799
Speaker 1: about Joe the keeper.

726
00:39:02,840 --> 00:39:04,560
Speaker 3: Oh man, I forgot about Joe the Plumber.

727
00:39:04,680 --> 00:39:07,720
Speaker 1: Good lord, is that Sarah Palin?

728
00:39:08,360 --> 00:39:12,040
Speaker 3: I don't remember. I don't remember. But if you're going

729
00:39:12,120 --> 00:39:15,760
Speaker 3: to make a movie about the two thousand aughtsright, having

730
00:39:15,880 --> 00:39:18,239
Speaker 3: him like somewhere in the background would really be a

731
00:39:18,360 --> 00:39:19,719
Speaker 3: nice touch. Yeah.

732
00:39:20,600 --> 00:39:21,320
Speaker 1: And Soybomb?

733
00:39:22,680 --> 00:39:23,040
Speaker 3: What was that?

734
00:39:23,840 --> 00:39:26,840
Speaker 2: Soybomb was the guy who rushed the stage and I

735
00:39:26,840 --> 00:39:29,320
Speaker 2: think it was a Grammy's during Bob Dylan's acceptance speech.

736
00:39:29,480 --> 00:39:30,960
Speaker 3: Oh really, I don't remember that at all.

737
00:39:31,080 --> 00:39:32,640
Speaker 1: And he had a shirt on this said Soybomb.

738
00:39:32,800 --> 00:39:33,680
Speaker 3: No, I don't remember that.

739
00:39:34,480 --> 00:39:36,279
Speaker 2: Yeah, I can't remember the year, and I'm sure I

740
00:39:36,320 --> 00:39:38,120
Speaker 2: got some of that wrong, but Soybomb and it was right.

741
00:39:38,400 --> 00:39:41,000
Speaker 3: It wasn't Bob Dylan. It was Bob Newhart, that's right.

742
00:39:41,440 --> 00:39:44,000
Speaker 1: When he went was Grammy? All right?

743
00:39:44,120 --> 00:39:48,799
Speaker 2: So he's backtilling these organs again. Famous people are using him.

744
00:39:49,040 --> 00:39:52,560
Speaker 2: Baseball team stadiums are using him. Soap operas and churches.

745
00:39:52,719 --> 00:39:56,040
Speaker 2: Everyone's getting on board. A woman comes along by the

746
00:39:56,120 --> 00:39:59,279
Speaker 2: name of Ethel Smith, who probably did more to popularize

747
00:39:59,320 --> 00:40:01,200
Speaker 2: the Hammond or than anybody else.

748
00:40:02,160 --> 00:40:04,400
Speaker 1: She was in a movie, a Red.

749
00:40:04,280 --> 00:40:07,880
Speaker 2: Skelt movie called Bathing Beauty and played this song, and

750
00:40:08,040 --> 00:40:11,279
Speaker 2: it's on YouTube. You should check it out. Ladies got

751
00:40:11,320 --> 00:40:14,239
Speaker 2: crazy fingers. She's so fast, And it was like a

752
00:40:14,280 --> 00:40:17,120
Speaker 2: Brazilian kind of song called Tico Tico that became a

753
00:40:17,719 --> 00:40:20,160
Speaker 2: smash international musical sensation.

754
00:40:20,520 --> 00:40:24,879
Speaker 3: Yes, and Ethel Smith was she kind of idolized John

755
00:40:24,960 --> 00:40:28,840
Speaker 3: Hammond because she realized what he had done by creating

756
00:40:28,880 --> 00:40:31,719
Speaker 3: this Hammond organ, and so it was kind of symbiotic.

757
00:40:31,800 --> 00:40:35,000
Speaker 3: Even though she didn't meet him until much later, but

758
00:40:35,120 --> 00:40:37,240
Speaker 3: she always kind of idolized him and was very grateful

759
00:40:37,280 --> 00:40:41,040
Speaker 3: to him. Yeah, because you know, without her or without him,

760
00:40:41,719 --> 00:40:44,640
Speaker 3: she said, she would have probably gotten into an older

761
00:40:44,719 --> 00:40:49,480
Speaker 3: profession than music, right what she meant. And then without her,

762
00:40:50,360 --> 00:40:54,120
Speaker 3: his his organ just wouldn't have been as well known.

763
00:40:54,200 --> 00:40:56,959
Speaker 1: I think, yeah, absolutely, that song was huge.

764
00:40:57,320 --> 00:40:59,880
Speaker 2: Also, Jimmy Smith, the afore mentioned no relation to Ethel

765
00:41:00,560 --> 00:41:04,000
Speaker 2: jazz musician, even though people before him used it, he

766
00:41:04,080 --> 00:41:07,279
Speaker 2: really kind of took it to a new level. And

767
00:41:07,400 --> 00:41:10,200
Speaker 2: then we have to talk about because I know there

768
00:41:10,440 --> 00:41:14,279
Speaker 2: are keyboard players and Hammond enthusiasts. They're like, guys, you

769
00:41:14,360 --> 00:41:16,759
Speaker 2: can't talk about the ham and organ without talking about

770
00:41:16,760 --> 00:41:20,479
Speaker 2: the Leslie speaker. Yeah, if you've ever been to a show,

771
00:41:20,560 --> 00:41:23,200
Speaker 2: a concert and you've seen a ham and Organ. I

772
00:41:23,400 --> 00:41:26,600
Speaker 2: almost guarantee you that sitting beside that organ is this

773
00:41:26,880 --> 00:41:31,160
Speaker 2: giant brown wooden box that doesn't even look like a

774
00:41:31,200 --> 00:41:34,800
Speaker 2: speaker because it doesn't have a big, round, graded panel

775
00:41:34,920 --> 00:41:37,759
Speaker 2: like most speakers do. And you might be thinking, what

776
00:41:37,920 --> 00:41:40,080
Speaker 2: in the world is that thing? Even that is called

777
00:41:40,120 --> 00:41:43,960
Speaker 2: a Leslie speaker and it is the key I think

778
00:41:44,200 --> 00:41:46,759
Speaker 2: to and many people agree to what makes the Hamm

779
00:41:46,800 --> 00:41:48,280
Speaker 2: and Organ sound so amazing?

780
00:41:48,600 --> 00:41:52,160
Speaker 3: Yeah, and Don Leslie was like, Hey, I came up

781
00:41:52,200 --> 00:41:54,520
Speaker 3: with this speaker that works really well with your organ

782
00:41:54,600 --> 00:41:56,640
Speaker 3: and makes it sound a lot better. Can I come

783
00:41:56,760 --> 00:41:58,880
Speaker 3: work for you or do you want to buy my idea?

784
00:41:59,520 --> 00:42:01,680
Speaker 3: And remember I said at the outset that Hammond was

785
00:42:01,920 --> 00:42:04,640
Speaker 3: kind of egotistical here or there, and he was also

786
00:42:04,800 --> 00:42:07,800
Speaker 3: I think you said, tone deaf. And apparently when you

787
00:42:07,880 --> 00:42:10,840
Speaker 3: put those two things together, he wasn't at all impressed

788
00:42:10,880 --> 00:42:13,400
Speaker 3: with Leslie's invention because he couldn't hear any difference. And

789
00:42:13,480 --> 00:42:16,040
Speaker 3: he also, I think didn't really like somebody telling him

790
00:42:16,080 --> 00:42:18,120
Speaker 3: that they had come up with something that improved on

791
00:42:18,239 --> 00:42:24,840
Speaker 3: his invention totally. So for decades there was a almost

792
00:42:24,880 --> 00:42:28,880
Speaker 3: a one sided cold war between the Hammond Company, or

793
00:42:28,960 --> 00:42:32,720
Speaker 3: specifically I think I called him John Hammond, Larry Hammond

794
00:42:33,960 --> 00:42:37,880
Speaker 3: and Don Leslie and Leslie's company. He's had no expense.

795
00:42:38,160 --> 00:42:43,200
Speaker 3: He would he would not entertain the idea of using

796
00:42:43,360 --> 00:42:46,960
Speaker 3: these Leslie speakers in his organs. He wouldn't let anybody

797
00:42:46,960 --> 00:42:50,239
Speaker 3: else do it. But they worked so well, Chuck, that

798
00:42:50,320 --> 00:42:53,200
Speaker 3: if you were a Hammond dealer, an authorized Hammond dealer,

799
00:42:53,800 --> 00:42:56,359
Speaker 3: you would secretly like if somebody came in and bought

800
00:42:56,480 --> 00:42:58,000
Speaker 3: a B three from you, you'd be like, let me

801
00:42:58,120 --> 00:43:00,640
Speaker 3: show you something in the back, and you'd take them

802
00:43:00,680 --> 00:43:02,880
Speaker 3: back there. You'd be like, you really have to have

803
00:43:03,120 --> 00:43:05,319
Speaker 3: this because it makes it so much better.

804
00:43:06,040 --> 00:43:08,480
Speaker 2: Yeah. He would even change the switches out from year

805
00:43:08,520 --> 00:43:11,160
Speaker 2: to year so you couldn't use it like you had

806
00:43:11,200 --> 00:43:13,600
Speaker 2: to modify it basically to use with a B Leslie.

807
00:43:14,760 --> 00:43:17,879
Speaker 2: So the Leslie is really interesting. It's probably we should

808
00:43:17,920 --> 00:43:20,080
Speaker 2: do a short stuff on it. But the secret to

809
00:43:20,120 --> 00:43:24,080
Speaker 2: the Leslie is it's also electro mechanical because it takes

810
00:43:24,239 --> 00:43:26,160
Speaker 2: your sound and instead of just pumping it out like

811
00:43:26,239 --> 00:43:29,840
Speaker 2: a regular speaker, it shoots the sound in two directions.

812
00:43:29,920 --> 00:43:32,840
Speaker 2: It shoots it down to a base speaker that is

813
00:43:33,080 --> 00:43:38,440
Speaker 2: literally rotating, and shoots it up to these two cones.

814
00:43:38,480 --> 00:43:40,840
Speaker 2: They look like sort of like the old ear cones

815
00:43:40,880 --> 00:43:42,600
Speaker 2: that you would put to your ear to hear somebody

816
00:43:42,680 --> 00:43:44,840
Speaker 2: better if you are hard of hearing. That were on

817
00:43:45,320 --> 00:43:48,600
Speaker 2: what looks like kind of like a record turntable, and

818
00:43:49,000 --> 00:43:51,680
Speaker 2: these things spin and it would shoot the sound toward that,

819
00:43:52,360 --> 00:43:57,160
Speaker 2: and the sound would spin through these spinning cones and

820
00:43:57,320 --> 00:44:00,680
Speaker 2: come out the other side through the speaker. It did,

821
00:44:00,800 --> 00:44:02,560
Speaker 2: you know, it's not like it didn't have any venting

822
00:44:02,719 --> 00:44:05,000
Speaker 2: for sound. It had these little slits at the top,

823
00:44:05,080 --> 00:44:07,319
Speaker 2: but not like a big, huge round hole yah.

824
00:44:07,920 --> 00:44:10,080
Speaker 1: And it was a belt driven.

825
00:44:09,840 --> 00:44:12,920
Speaker 2: Thing by a motor, and these things would spin and

826
00:44:13,520 --> 00:44:15,719
Speaker 2: it was a variable speed, so if you had it

827
00:44:15,840 --> 00:44:19,000
Speaker 2: really really slow, it was sort of a warble. If

828
00:44:19,040 --> 00:44:22,120
Speaker 2: you spun it really really fast, it's that sound of

829
00:44:22,200 --> 00:44:25,560
Speaker 2: classic rock that you know and love, or just rock

830
00:44:25,600 --> 00:44:28,840
Speaker 2: and roll. If you hear a key pressed with that

831
00:44:29,200 --> 00:44:33,360
Speaker 2: Leslie speaker spinning at top speed, it's that vibrato that

832
00:44:35,160 --> 00:44:39,799
Speaker 2: instead of just the ware, and it makes an organ

833
00:44:39,880 --> 00:44:43,040
Speaker 2: sound flat by comparison when you're not using one, I'll bet,

834
00:44:43,920 --> 00:44:46,200
Speaker 2: and really just brings it alive in a small space. So,

835
00:44:46,680 --> 00:44:48,120
Speaker 2: you know, a pipe organ one of the reasons a

836
00:44:48,160 --> 00:44:51,440
Speaker 2: pipe organ sounds great is because it's used in a cathedral.

837
00:44:52,360 --> 00:44:55,680
Speaker 2: If you're in your basement and you can't replicate a

838
00:44:55,800 --> 00:44:58,480
Speaker 2: really great sound, this Leslie really aids in that.

839
00:44:59,000 --> 00:45:01,880
Speaker 3: The other thing it does as it serves as an

840
00:45:01,920 --> 00:45:05,680
Speaker 3: alternate portal to Narnia. Once it gets spinning really fast,

841
00:45:06,200 --> 00:45:08,400
Speaker 3: tears open the fabric of time and space.

842
00:45:09,200 --> 00:45:12,960
Speaker 2: Yeah, so hats off to Don Leslie. You know, just

843
00:45:13,480 --> 00:45:15,640
Speaker 2: a genius invention to go hand in hand, and I

844
00:45:15,680 --> 00:45:17,640
Speaker 2: wish Larry Hammond had embraced it, but.

845
00:45:17,840 --> 00:45:18,440
Speaker 3: Oh he did not.

846
00:45:19,000 --> 00:45:20,000
Speaker 1: Yeah, the ego got in the way.

847
00:45:20,000 --> 00:45:22,440
Speaker 3: I think even after he retired he tried to prevent

848
00:45:22,560 --> 00:45:28,839
Speaker 3: the company from from doing business with hand with Leslie. Yeah. Yeah,

849
00:45:28,920 --> 00:45:32,160
Speaker 3: basically right when he died, they started adding Leslie speakers

850
00:45:32,239 --> 00:45:38,560
Speaker 3: to their setups. It's pretty cool. So Larry Hammond, I

851
00:45:38,680 --> 00:45:43,080
Speaker 3: think I said John again. If I did, I'm sorry everybody.

852
00:45:43,120 --> 00:45:46,319
Speaker 3: I'm just gonna move forward. But he's he was more

853
00:45:46,920 --> 00:45:49,840
Speaker 3: than just the ham and organ inventor and the tickless clock,

854
00:45:50,040 --> 00:45:55,160
Speaker 3: the tick in the box clock inventor, or the automatic

855
00:45:55,239 --> 00:45:59,439
Speaker 3: bridge table inventor. He did all sorts of other stuff too. Yeah.

856
00:45:59,640 --> 00:46:03,280
Speaker 2: He then probably the first synthesizer it's called the novachord.

857
00:46:03,360 --> 00:46:05,839
Speaker 2: It's you should watch youtubes of this thing if you're

858
00:46:05,840 --> 00:46:08,080
Speaker 2: into musical instruments like old time Ewins's.

859
00:46:08,400 --> 00:46:09,640
Speaker 1: This was in nineteen thirty nine.

860
00:46:10,880 --> 00:46:14,120
Speaker 2: Robert Mogue was a five year old who you know,

861
00:46:14,200 --> 00:46:18,040
Speaker 2: gets credited as being the synthesizer inventor, so he invitted

862
00:46:18,080 --> 00:46:18,680
Speaker 2: the novachord.

863
00:46:18,920 --> 00:46:21,480
Speaker 1: He invented all kinds of great stuff. I think he died.

864
00:46:22,239 --> 00:46:24,120
Speaker 2: After his death, he ended up with one hundred and

865
00:46:24,200 --> 00:46:28,960
Speaker 2: ten patents to his name. CBS bought he died in

866
00:46:29,000 --> 00:46:33,080
Speaker 2: nineteen seventy three. CBS had bought Hammond in nineteen sixty five.

867
00:46:33,880 --> 00:46:36,759
Speaker 2: They had also bought the Fender guitar company, so that's

868
00:46:36,800 --> 00:46:40,640
Speaker 2: when CBS thought it was in the music instrument business

869
00:46:40,680 --> 00:46:43,960
Speaker 2: for a little while. Hammond bought it back in nineteen

870
00:46:44,040 --> 00:46:47,680
Speaker 2: eighty from CBS. In eighty five they went out of business.

871
00:46:48,800 --> 00:46:51,560
Speaker 2: So like the last true Hammond B three I think

872
00:46:51,680 --> 00:46:55,800
Speaker 2: rolled off the line in those years and there I

873
00:46:55,840 --> 00:46:58,239
Speaker 2: think they made a couple of million organs. So it's

874
00:46:58,320 --> 00:47:00,759
Speaker 2: not like if you want to and B three organ

875
00:47:00,840 --> 00:47:03,040
Speaker 2: you can find them today. It's they aren't cheap, but

876
00:47:03,360 --> 00:47:05,960
Speaker 2: it's not like some huge rare collector item.

877
00:47:06,040 --> 00:47:06,600
Speaker 1: Or anything like that.

878
00:47:07,080 --> 00:47:09,399
Speaker 3: One other thing I thought I thought was noteworthy, Chuck

879
00:47:09,640 --> 00:47:11,440
Speaker 3: a while back, you talked about how he was, like,

880
00:47:11,520 --> 00:47:13,799
Speaker 3: you know, a good boss, and he was very proud

881
00:47:13,840 --> 00:47:18,520
Speaker 3: of employing people. Two different presidents of the ham and

882
00:47:18,640 --> 00:47:22,080
Speaker 3: Company started out at the bottom. One is an office

883
00:47:22,160 --> 00:47:24,680
Speaker 3: boy and one in the mailroom and worked their way up.

884
00:47:25,239 --> 00:47:28,719
Speaker 3: That's I mean, just having one president having done that

885
00:47:28,920 --> 00:47:32,520
Speaker 3: is pretty impressive, but two is really significant. And really

886
00:47:32,520 --> 00:47:34,440
Speaker 3: I think it says a lot about the kind of

887
00:47:34,520 --> 00:47:36,480
Speaker 3: company he built totally.

888
00:47:38,320 --> 00:47:41,640
Speaker 2: Suzuki, by the way, as a PostScript, bought Hammond in

889
00:47:41,760 --> 00:47:46,960
Speaker 2: nineteen eighty nine, right Suzuki of the motorcycle keyboard fame. Sure,

890
00:47:47,719 --> 00:47:50,480
Speaker 2: And in two thousand and two they started making a

891
00:47:50,600 --> 00:47:53,680
Speaker 2: new version of the B three again. I think it's

892
00:47:53,760 --> 00:47:57,160
Speaker 2: called the x K three. And I listened to a comparison.

893
00:47:57,400 --> 00:48:02,080
Speaker 2: I'm sure where players I purists will say like, no, man,

894
00:48:02,239 --> 00:48:03,600
Speaker 2: you gotta have the original Hammond.

895
00:48:03,640 --> 00:48:07,560
Speaker 1: But it sounded just like it to me. It's a

896
00:48:07,600 --> 00:48:08,120
Speaker 1: little brighter.

897
00:48:08,239 --> 00:48:10,880
Speaker 3: Maybe they need to set up a blind listening test.

898
00:48:11,040 --> 00:48:16,400
Speaker 2: We should have at the Rockefeller Cathedral in Chicago. But uh, anyway,

899
00:48:16,480 --> 00:48:18,879
Speaker 2: that XK three, it sounded pretty good to me. Cool

900
00:48:19,360 --> 00:48:21,520
Speaker 2: for my dumb semi musical year.

901
00:48:22,480 --> 00:48:23,960
Speaker 3: Uh, you got anything else?

902
00:48:24,800 --> 00:48:26,239
Speaker 1: I got nothing else. I enjoy these.

903
00:48:26,440 --> 00:48:26,759
Speaker 3: We'll have to.

904
00:48:27,000 --> 00:48:28,640
Speaker 1: I don't think we've done one of Mog yet, have we?

905
00:48:29,080 --> 00:48:31,120
Speaker 3: I don't think so you keep saying Mogue. It's very

906
00:48:31,200 --> 00:48:34,799
Speaker 3: clearly Moog it's mo I don't know.

907
00:48:35,640 --> 00:48:37,160
Speaker 1: But uh we should. We should do him one day.

908
00:48:37,160 --> 00:48:40,080
Speaker 1: I love I love covering these sort of pioneers and

909
00:48:40,640 --> 00:48:41,400
Speaker 1: musical invention.

910
00:48:41,680 --> 00:48:46,200
Speaker 3: Yeah, it's it's a good little sweet we're building. Okay, agreed,

911
00:48:46,280 --> 00:48:49,320
Speaker 3: A sweet sweet, So Chuck said, sweet sweet everybody, And

912
00:48:49,480 --> 00:48:52,879
Speaker 3: as longtime listeners know that just unlocked listener mail.

913
00:48:55,600 --> 00:48:58,759
Speaker 2: I'm gonna call this quick correction. Hey, guys, love the show,

914
00:48:59,360 --> 00:49:02,600
Speaker 2: Thanks for tech the hard stuff. A quick correction from

915
00:49:02,640 --> 00:49:06,920
Speaker 2: the zenobiotics episode, Josh says during the explanation of p

916
00:49:07,120 --> 00:49:09,880
Speaker 2: fas that they get into the municipal wastewater and we

917
00:49:09,960 --> 00:49:11,520
Speaker 2: have no idea how to get them out of our water.

918
00:49:11,960 --> 00:49:12,600
Speaker 1: That isn't true.

919
00:49:13,040 --> 00:49:16,640
Speaker 2: Granular activated carbon and reverse osmosis are two ways to

920
00:49:16,840 --> 00:49:20,240
Speaker 2: remove p fas from water. Lots of drinking water treatment

921
00:49:20,280 --> 00:49:23,840
Speaker 2: systems are currently using this technology as we speak to

922
00:49:23,920 --> 00:49:27,240
Speaker 2: remove p fasts, not saying they're an expensive and difficult

923
00:49:27,280 --> 00:49:28,360
Speaker 2: to manage, but they do exist.

924
00:49:29,200 --> 00:49:30,680
Speaker 1: Keep up the great work, Whitney B.

925
00:49:31,640 --> 00:49:34,160
Speaker 3: Thanks a lot, Whitney B. With that bit of good news,

926
00:49:35,000 --> 00:49:39,120
Speaker 3: I'm glad we can get p fasts out of our water. Yes.

927
00:49:40,320 --> 00:49:42,799
Speaker 3: If you want to be like Whitney B and say

928
00:49:43,320 --> 00:49:46,160
Speaker 3: listen to me, you can send it in an email

929
00:49:46,360 --> 00:49:49,920
Speaker 3: to Stuff Podcast at iHeartRadio dot com.

930
00:49:52,920 --> 00:49:55,759
Speaker 1: Stuff you Should Know is a production of iHeartRadio. For

931
00:49:55,880 --> 00:49:59,920
Speaker 1: more podcasts my heart Radio, visit the iHeartRadio app, Apple Podcasts,

932
00:50:00,200 --> 00:50:02,000
Speaker 1: or wherever you listen to your favorite shows.