SOUND METHODS EQUALIZING AND VOICING
North American Dealer Meeting 2018 Las Vegas, Nevada Bertus Lap and Dan Miller 2 Frequencies of organ stops in equal temperament Key 16’ 8’ 4’ 2 2/3’ 2’ 1 3/5’ 1 1/3’ 1’ C 32.70 65.40 130.80 196.20 261.60 327.00 392.40 523.20 C# 34.65 69.30 138.60 207.90 277.20 346.50 415.80 554.40 D 36.71 73.43 146.85 220.28 293.70 367.13 440.55 587.40 D# 38.89 77.78 155.55 233.33 311.10 388.88 466.65 622.20 E 41.20 82.40 164.80 247.20 329.60 412.00 494.40 659.20 F 43.65 87.30 174.60 261.90 349.20 436.50 523.80 698.40 F# 46.25 92.50 185.00 277.50 370.00 462.50 555.00 740.00
1st octave1st G 49.00 98.00 196.00 294.00 392.00 490.00 588.00 784.00 G# 51.91 103.83 207.65 311.48 415.30 519.13 622.95 830.60 A 55.00 110.00 220.00 330.00 440.00 550.00 660.00 880.00 A# 58.28 116.55 233.10 349.65 466.20 582.75 699.30 932.40 B 61.74 123.48 246.95 370.43 493.90 617.38 740.85 987.80 C 65.40 130.80 261.60 392.40 523.20 654.00 784.80 1046.40 C# 69.30 138.60 277.20 415.80 554.40 693.00 831.60 1108.80 D 73.43 146.85 293.70 440.55 587.40 734.25 881.10 1174.80 D# 77.78 155.55 311.10 466.65 622.20 777.75 933.30 1244.40
E 82.40 164.80 329.60 494.40 659.20 824.00 988.80 1318.40 F 87.30 174.60 349.20 523.80 698.40 873.00 1047.60 1396.80 F# 92.50 185.00 370.00 555.00 740.00 925.00 1110.00 1480.00
2nd octave G 98.00 196.00 392.00 588.00 784.00 980.00 1176.00 1568.00 G# 103.83 207.65 415.30 622.95 830.60 1038.25 1245.90 1661.20 A 110.00 220.00 440.00 660.00 880.00 1100.00 1320.00 1760.00 A# 116.55 233.10 466.20 699.30 932.40 1165.50 1398.60 1864.80 B 123.48 246.95 493.90 740.85 987.80 1234.75 1481.70 1975.60 C 130.80 261.60 523.20 784.80 1046.40 1308.00 1569.60 2092.80 C# 138.60 277.20 554.40 831.60 1108.80 1386.00 1663.20 2217.60 D 146.85 293.70 587.40 881.10 1174.80 1468.50 1762.20 2349.60 D# 155.55 311.10 622.20 933.30 1244.40 1555.50 1866.60 2488.80
E 164.80 329.60 659.20 988.80 1318.40 1648.00 1977.60 2636.80 F 174.60 349.20 698.40 1047.60 1396.80 1746.00 2095.20 2793.60 octave F# 185.00 370.00 740.00 1110.00 1480.00 1850.00 2220.00 2960.00 rd
3 G 196.00 392.00 784.00 1176.00 1568.00 1960.00 2352.00 3136.00 G# 207.65 415.30 830.60 1245.90 1661.20 2076.50 2491.80 3322.40 A 220.00 440.00 880.00 1320.00 1760.00 2200.00 2640.00 3520.00 A# 233.10 466.20 932.40 1398.60 1864.80 2331.00 2797.20 3729.60 B 246.95 493.90 987.80 1481.70 1975.60 2469.50 2963.40 3951.20 C 261.60 523.20 1046.40 1569.60 2092.80 2616.00 3139.20 4185.60 C# 277.20 554.40 1108.80 1663.20 2217.60 2772.00 3326.40 4435.20 D 293.70 587.40 1174.80 1762.20 2349.60 2937.00 3524.40 4699.20 D# 311.10 622.20 1244.40 1866.60 2488.80 3111.00 3733.20 4977.60 E 329.60 659.20 1318.40 1977.60 2636.80 3296.00 3955.20 5273.60 F 349.20 698.40 1396.80 2095.20 2793.60 3492.00 4190.40 5587.20 F# 370.00 740.00 1480.00 2220.00 2960.00 3700.00 4440.00 5920.00
4th octave4th G 392.00 784.00 1568.00 2352.00 3136.00 3920.00 4704.00 6272.00 G# 415.30 830.60 1661.20 2491.80 3322.40 4153.00 4983.60 6644.80 A 440.00 880.00 1760.00 2640.00 3520.00 4400.00 5280.00 7040.00 A# 466.20 932.40 1864.80 2797.20 3729.60 4662.00 5594.40 7459.20 B 493.90 987.80 1975.60 2963.40 3951.20 4939.00 5926.80 7902.40 C 523.20 1046.40 2092.80 3139.20 4185.60 5232.00 6278.40 8371.20 C# 554.40 1108.80 2217.60 3326.40 4435.20 5544.00 6652.80 8870.40 D 587.40 1174.80 2349.60 3524.40 4699.20 5874.00 7048.80 9398.40 D# 622.20 1244.40 2488.80 3733.20 4977.60 6222.00 7466.40 9955.20 E 659.20 1318.40 2636.80 3955.20 5273.60 6592.00 7910.40 10547.20 F 698.40 1396.80 2793.60 4190.40 5587.20 6984.00 8380.80 11174.40 F# 740.00 1480.00 2960.00 4440.00 5920.00 7400.00 8880.00 11840.00
5th octave5th G 784.00 1568.00 3136.00 4704.00 6272.00 7840.00 9408.00 12544.00 G# 830.60 1661.20 3322.40 4983.60 6644.80 8306.00 9967.20 13289.60 A 880.00 1760.00 3520.00 5280.00 7040.00 8800.00 10560.00 14080.00 A# 932.40 1864.80 3729.60 5594.40 7459.20 9324.00 11188.80 14918.40 B 987.80 1975.60 3951.20 5926.80 7902.40 9878.00 11853.60 15804.80 C 1046.40 2092.80 4185.60 6278.40 8371.20 10464.00 12556.80 16742.40
Service Menu List (copied from Inspire Tech manual)
30 Pipe Modeling Random Tuning (Saved in SYSTEM) Wind Supply GT Wind Supply SW
[Trem Settings] Division (Saved in SYSTEM) Rate
31 Stop Voicing <
[Preview] (Graphic)
40 Equalizer [EQ1-EQ10] (Saved in SYSTEM) Center Frequency Gain Stereo [Internal] Q (Graphic) [FRH, FRL, SUBH, SUBL] On/Off Corner Frequency Roll-off Stereo [EQ1-EQ5] Center Frequency Gain Stereo [Satellite] Q (Graphic) [HIGH, LOW] On/Off Corner Frequency Roll-off Stereo
4 [EQ1-EQ5] Center Frequency Gain [External 1/2] Stereo [External 3/4] Q [External 5/6] [HIGH, LOW] [External 7/8] On/Off (Graphic) Corner Frequency Roll-off Stereo 41 Matrix Mixer <
43 Speaker setup Type 1-9 50 System Console TAB Lamp Blink (Saved in SYSTEM) Satellite Visible Internal Visible Factory VOICING [Factory Reset] Factory AUDIO Bank [Memory Bank Lock] Protect 51 Switch Assign Switch Varies by toe piston option (Saved in SYSTEM) Function 59 Calibration (Saved Immediately) 60 Audio Test SINE Source WHITE Level 0%-100%
5 INTERNAL L INTERNAL R INTERNAL SUB L INTERNAL SUB R EXTERNAL 1 EXTERNAL 2 EXTERNAL 3 Output EXTERNAL 4 EXTERNAL 5 EXTERNAL 6 EXTERNAL 7 EXTERNAL 8 SATELLITE L SATELLITE R 69 Program Program All Program Voicecard 1 Program Voicecard 2 Program Voicecard 3 Program Reverbcard Factory Data Demo Data Hymn Data
Service Menu item descriptions 30 – Pipe Modeling (Saved in SYSTEM) Random Tuning This varies the amount of Random Tuning applied to all voices. Select values from OFF, LOW, and HIGH by rotating the VALUE KNOB while in this menu. OFF will defeat the Random Tuning process entirely. This does not affect tuning data that is generated by voicing operations. The effect of this feature is easily demonstrated by selecting two stops in the same tone family but at two different pitches, e.g. the Great Principal 8’ and the Great Super Octave 2’. Play two notes an octave apart and listen to the tuning as you select values from OFF, through HIGH by rotating the VALUE dial. Notes must be re-keyed before the result of the selection is heard. This is a global adjustment. Adjustments for individual pitches within a stop are made in the Tune settings located in the Note Voicing menu. Random detuning re-instances every time a key is pressed.
Wind Supply Part of the personality of an individual pipe organ relates to the steadiness of the wind supply to the pipes. Because air is an elastic medium, there is some amount of give in the wind supply of every pipe instrument. Some organs exhibit more unsteadiness than others according to the type of wind regulators used (single or multiple reservoirs, schwimmer regulators, etc.) A small amount of unsteadiness in the wind helps the listener to identify the sound as that of a windblown instrument, although too much can be distracting. Certain types of music, though, seem to gain charm from a less-than-perfect wind system.
6 Another characteristic of pipe organs involves changes in pitch that occur in individual pipes when playing large numbers of pipes together. These pitch changes are due both to variations in wind pressure as the wind demand becomes greater and to the influence of the sound from neighboring pipes. This latter effect is greatest upon large-scale flute voices and least upon narrow-scaled string voices. Even though this results in significant detuning, the human ear seems to perceive instead an increase in ensemble effect. The Wind Supply feature emulates these characteristics by modeling the behavior of pipe organ wind regulating devices and the response of pipes to a slightly unsteady wind supply. Some independent ranks have their own software reservoir, and each voice is programmed to respond to wind variations in the same way its equivalent pipe rank or ranks would respond. Wind Supply operates much like pipe instruments. The Wind Supply GT and Wind Supply SW settings range from 0 to 20. These settings determine the effect of Wind Supply on the Great and Swell divisions, respectively. When set to 20, the sag of an initial pitch in the playing of rapid passages or large chords is most pronounced. A setting of 0 makes the wind steady under all conditions. This is a global adjustment. The level of the Wind Supply effect for individual stops, ranks, and notes, is set using the Wind Supply setting located in the Note Voicing menu.
Tremulant Settings This menu allows the installer to adjust the rate of the organ’s tremulant. A tremulant produces a cyclic variation in the wind supply to a rank of pipes. This causes a fluctuation in the pitch and amplitude, resulting in a vibrato and tremolo effect. The Division setting selects the division for which the tremulant rate will be modified. The Rate setting changes the rate of the tremulant in Hertz.
31 – Stop Voicing (Saved in VOICING) This allows the installer to adjust various parameters for each voice in the organ.
Stop Each stop tab has voices in its Voice Palette; this selects a voice from the Voice Palette list. 1. After entering the Stop Voicing menu, simply double-tap a tab to select the stop that will be voiced. 2. Use the VALUE KNOB to scroll through the Voice Palette voices that are on that stop tab and highlight the voice that is to be adjusted. Note: The currently selected stop tab will blink yet the voice can be turned on or off in the normal fashion. It will continue to blink as a reminder that it is the selected stop thereby allowing the voicer to listen to the stop in various combinations without deselecting the stop.
7 3. To select a different stop and Voice Palette, double-tap a tab, then use the SELECT KNOB to highlight the <
Level This adjusts the volume level of the selected stop. Use the VALUE KNOB to adjust the volume level of the stop. For multi-rank stops (e.g., celestes, mixtures, etc.) this adjusts the volume for BOTH ranks.
Output This determines the output to which the stop will be routed. Each stop can be sent either to its associated manual’s output, or an ALT output. ALT outputs allow the installer to utilize additional external speakers. For example, a stop routed to the ALT output can then be sent to channel pair 5/6 using the Matrix Mixer.
Note Voicing (Saved in VOICING) This is a graphical representation by which note-by-note or range adjustments are made for the selected stop and Voice Palette. If the selected stop is a multi-rank stop, the “Rank” item will become available, allowing rank-level adjustments within a stop. The available parameters are Level, Tune, Low Frequency, Low Gain, High Frequency, High Gain, Tremulant Depth, and Wind Supply.
Level The Level parameter adjusts the volume level of a note.
Tune The Tune parameter adjusts the tuning of a note.
Low Frequency The Low Frequency parameter selects the shelf frequency of a note-by-note, low-shelf filter.
Low Gain The Low Gain parameter adjusts the gain of all frequencies below the low frequency.
High Frequency The High Frequency parameter selects the shelf frequency of a note-by-note high-shelf filter.
High Gain The High Gain parameter adjusts the gain of all frequencies above the high frequency.
Tremulant Depth The Tremulant Depth parameter adjusts the amount of tuning and volume modulation that is applied by the tremulant.
8 Wind Supply The Wind Supply parameter adjusts the amount of the Wind Supply effect for a specific note or range of notes. This setting operates within the range set by the global Wind Supply setting found in the Pipe Modeling menu. To make changes in the Note Voicing menu: 1. Double-tap a tab to select that stop for note-by-note adjustment. 2. Use the SELECT KNOB to highlight the stop name and then use the VALUE KNOB to select one of the Voice Palettes available on that tab. 3. Use the SELECT KNOB to highlight the rank field and then use the VALUE KNOB to select ALL ranks or individual ranks in multi-rank stops. 4. Use the SELECT KNOB to highlight the parameter field and then use the VALUE KNOB to select a parameter. 5. Use the SELECT KNOB to highlight the value field and then use the VALUE KNOB to select the value. 6. Press a key to select it for voicing. Use the VALUE KNOB to adjust the selected parameter.
Tools Use the tools option to perform helpful functions across the entire range of notes, including Randomize and Reset. To use the tools option, use the SELECT KNOB to highlight <
Notes singly To select a single note simply play a note on the keyboard and the display indicates the note. Turning the VALUE KNOB adjusts the selected parameter for just that one note.
Notes by Range This allows the installer to select a range of notes. Hold the SET piston and press the desired keys to select first the low anchor note and then the high anchor note. Highlight the parameter value using the SELECT KNOB. Turning the VALUE KNOB adjusts the selected parameter for the entire range equally.
Notes by Range (slope) This allows the installer to select a range of notes and then adjust the slope of that range. Hold the SET piston and press the desired keys to select first an anchor note and then double tap a second key to select the other end of the range. The double tapped key is the adjustment note.
Notes by Range (rubber-band) This allows the installer to select a range of notes and an adjustment note within that range. Hold the SET piston and press the desired keys to select first the low anchor note, then the adjustment note and then the high anchor note.
9 Advanced Voicing (Saved in VOICING)
Rank For multi-rank stops, this selects ALL the ranks or individual ranks.
Pan Shape This creates a sound-field image representation of various wind chest designs. For example, if set to CHROMATIC, the low frequency notes are sent to the LEFT speaker, the middle frequency notes are sent to both LEFT and RIGHT speakers, and the high frequency notes are sent to the RIGHT speaker. This creates the effect that as one plays chromatically from the low end of the keyboard to the high end, the sound moves accordingly from left to right. This is useful for creating the perception of façade pipes of a particular design.
‘Chromatic L’ pattern This creates the perception that the low frequency pitches (tall pipes) are located on the left side of the wind chest. As you play up the keyboard the sound image moves toward the right so that the mid-frequency pitches are heard at equal volume from both left and right speakers creating the perception that they are in the middle of the wind chest. Playing farther up the keyboard creates the perception that the high frequency pitches (short pipes) are on the right side of the wind chest. This is best demonstrated when the PAN WIDTH is set to a high value.
‘Chromatic R’ pattern This creates the perception that the low frequency pitches (tall pipes) are located on the right side of the wind chest. As you play up the keyboard the sound image moves toward the left so that the mid-frequency pitches are heard at equal volume from both left and right speakers creating the perception that they are in the middle of the wind chest. Playing farther up the keyboard creates the perception that the high frequency pitches (short pipes) are on the left side of the wind chest. This is best demonstrated when the PAN WIDTH is set to a high value.
10 ‘A Shape’ pattern The low frequency pitches (tall pipes) are heard at equal volume from both left and right speakers creating the perception that they are in the middle of the wind chest. As you play up the keyboard the sound image moves creating the perception that the higher frequency pitches (short pipes) are located toward the left and right ends of the wind chest. The pitches alternate from side to side, e.g. C on the left, C# on the right, D on the left, D# on the right. This is best demonstrated when the PAN WIDTH is set to a high value.
‘V Shape’ pattern This creates the perception that the lower frequency pitches (tall pipes) are located toward the left and right ends of the wind chest. The pitches alternate from side to side, e.g. C on the left, C# on the right, D on the left, D# on the right. As you play up the keyboard the sound image moves so that higher frequency pitches (short pipes) are heard at equal volume from both left and right speakers creating the perception that they are in the middle of the wind chest. This is best demonstrated when the PAN WIDTH is set to a high value.
‘W Shape L’ pattern The lowest frequency pitches (tall pipes) are located at the center, meaning they heard at close to equal volume from both left and right speakers. The lowest C is located slightly left of center, while low C# is slightly right of center. Increasing pitches (shorter pipes) alternate left to right with an increasing distance from center. The pattern changes at Middle C, which is located on the far left, and with corresponding C# located at the far right. Increasing pitches (shorter pipes) from Middle C alternate between left and right, moving closer to the center of the wind chest. This is best demonstrated when the PAN WIDTH is set to a high value.
11 ‘W Shape R’ pattern The lowest frequency pitches (tall pipes) are located at the center, meaning they heard at close to equal volume from both left and right speakers. The lowest C is located slightly right of center, while low C# is slightly left of center. Increasing pitches (shorter pipes) alternate right to left with an increasing distance from center. The pattern changes at Middle C, located on the far right and with corresponding C# located at the far left. Increasing pitches (shorter pipes) from Middle C alternate between right and left, moving closer to the center of the wind chest. This is best demonstrated when the PAN WIDTH is set to a high value.
‘Crown’ pattern The four lowest frequency pitches (tall pipes) are heard at equal volume from both left and right speakers creating the perception that they are in the middle of the wind chest. Beginning with the fifth note on the keyboard, the pitches alternate from side to side, e.g. E on the left, F on the right, F# on the left, G on the right. This creates the perception that these lower frequency pitches (tall pipes) are located toward the left and right ends of the wind chest. As you play farther up the keyboard the sound image moves so that higher frequency pitches (short pipes) are heard at equal volume from both left and right speakers creating the perception that they are in the middle of the wind chest. This is best demonstrated when the PAN WIDTH is set to a high value.
‘Diatonic L’ pattern The largest frequency pitches (tall pipes) are located to the far left (C) and far right (C#). As you play up the keyboard, the pitches alternate between left and right speakers. Close to Middle C, the pitches are heard equally through both speakers, giving the impression that these pipes are in the center of the wind chest. Moving up the keyboard from Middle C, pitches alternate left to right, becoming farthest from the center at the top of the keyboard.
12 ‘Diatonic R’ pattern The largest frequency pitches (tall pipes) are located to the far right (C) and far left (C#). As you play up the keyboard, the pitches alternate between left and right speakers. Close to Middle C, the pitches are heard equally through both speakers, giving the impression that these pipes are in the center of the wind chest. Moving up the keyboard from Middle C, pitches alternate right to left, becoming farthest from the center at the top of the keyboard.
‘C/C#’ pattern All pitches are played either through the left or the right speaker. Every other note, beginning with C, is played only through the left speaker. Every other note, beginning with C#, is played only through the right speaker.
‘C#/C’ pattern All pitches are played either through the left or the right speaker. Every other note, beginning with C, is played only through the right speaker. Every other note, beginning with C#, is played only through the left speaker.
‘Left’ pattern All notes are sent to the LEFT speaker.
‘Right’ pattern All notes are sent to the RIGHT speaker.
‘Center’ pattern All notes are sent equally to LEFT and RIGHT speaker.
Volume Pan Width This determines the perceived width of the wind chest. A higher value creates the perception that the wind chest is wider.
Pan Offset Left This setting offsets the location of left in the stereo image. For example, when set to 50%, the left-most pipe will appear in the center of the stereo field (it will be played through both speakers equally), while pipes previously in the center will appear between center and right. To best view the effect of this offset, use the Preview function.
Pan Offset Right This setting offsets the location of left in the stereo image. For example, when set to 50%, the right-most pipe will appear in the center of the stereo field (it will be played through both
13 speakers equally), while pipes previously in the center will appear between center and left. To best view the effect of this offset, use the Preview function.
Pan Offset Center This setting offsets the location of center in the stereo image. Increasing the center offset shifts the center-most pipes further to the right and left. To best view the effect of this offset, use the Preview function.
Preview This provides a graphical representation of the pipe location within the stereo field. Pipes close to the center will be played through both the left and right speakers equally. Pipes on the far left will be played only through the left speaker, while pipes on the far right will be played only through the right speaker.
40 – Equalizer (Saved in SYSTEM) This provides many audio adjustments to the internal speakers and each of the external channel pairs. Internal speakers are adjustable using ten independent Parametric EQs, one Low Frequency and one High Frequency filter. Internal subwoofers are adjustable using one Low Frequency and one High Frequency filter. Satellite Speakers can be adjusted using five independent Parametric EQs, one Low Frequency and one High Frequency filter. Each external speaker channel pair can be adjusted using five independent Parametric EQs, one Low Frequency and one High Frequency filter. A graphical interface is provided for all equalizers, as shown in Figures 13 and 14.
Figure 13 – Parametric Equalizer Graphical Interface
14 Figure 14 – High Pass Filter Equalizer Graphical Interface
Internal Equalizer These EQ settings affect the sound of the internal speakers and subwoofer.
Parametric Equalizers There are ten Parametric Equalizers (EQ1 – EQ10) available for adjustment of the internal speakers. A Parametric EQ is a filter capable of creating notches or peaks without influencing nearby frequencies. Each Parametric EQ has the following available parameters, as shown in Figure 13.
Center Frequency The center frequency of the notch or peak.
Gain The gain amount around the center frequency.
Stereo Choose whether this EQ will affect only right (R), only left (L), or both (L/R) channels. With a single EQ, different settings can be created for right and left channels. If right and left channel settings do not match, no graphic will be displayed. Stereo (L/R) adjustments are recommended.
Q “Q” stands for “quality factor.” The Q sets the sharpness of the response of the filter. The higher the “Q” value, the higher and more well-defined the peak in the response curve. See Figure 14.
15
Figure 15 – Parametric Equalizer Response Curve
High and Low Pass Filters In addition to Parametric EQs, the internal speakers can be adjusted using a High Pass filter (FRH), Low Pass filter (FRL), or both. The internal subwoofers can be adjusted using separate High Pass filter (SUBH) and Low Pass filter (SUBL). High pass filters remove or attenuate all frequencies below a cutoff frequency, leaving high frequencies unaffected. Low pass filters remove or attenuate all frequencies above a cutoff frequency, leaving low frequencies unaffected. The High Pass and Low Pass filters have the following available parameters, as shown in Figure 15.
On/Off Turn the filter on or off.
Cutoff Frequency The cutoff frequency of the filter. For FRH, all frequencies below this frequency will be attenuated or removed. For FRL, all frequencies above this frequency will be attenuated or removed.
Roll-off Select the Roll-off for the filter. Roll-off is the “steepness” of the filter response near the cutoff frequency. With 24dB/Octave selected, frequencies just beyond the cutoff frequency will be greatly reduced. With a Roll-off of 12dB/Octave, frequencies must be further away from the cutoff frequency before they are similarly affected. See Figure 16.
16 Figure 16 – Low Pass Filter Equalizer Response Curve (Roll-off)
Stereo Choose whether this EQ will affect only right (R), only left (L), or both (L/R) channels. With a single EQ, different settings can be created for right and left channels. If right and left channel settings do not match, no graphic will be displayed. Though the subwoofer filters have stereo control, there is only one internal single subwoofer. Therefore, this setting should remain set to L/R in the SUBH and SUBL filters.
External Equalizer External speakers connected to the organ may also need EQ adjustment. Each of the four external channel stereo pairs have their own equalizer settings that can be adjusted from this menu.
Parametric Equalizers External speakers have five independent Parametric Equalizers, (EQ1-EQ5). The same parameters are available for adjustment as the Internal Equalizer.
High and Low Pass Filters Each external speaker pair also has a High Pass filter (HIGH) and a Low Pass filter (LOW) available. The same parameters are available for adjustment of these filters as the internal equalizer high and low pass filters.
17 Satellite Equalizer If the “Satellite Visible” option in menu item number 0, “System Console,” is set to O , an additional set of equalizers is available for adjustment. These equalizers match those available for external speaker pairs. These equalizers affect the sound of the optional satellite speakers.
To make changes to equalization from the graphical menu: 1. Use the SELECT KNOB to highlight the EQ field and then use the VALUE KNOB to select one of the Equalizers. EQ1 – EQ10, FRH, FRL, SUBH, SUBL for internal, EQ1- EQ5, HIGH, LOW for an external pair. 2. Use the SELECT KNOB to highlight a parameter field and the use the VALUE KNOB to set the value of that parameter.
41 – Matrix Mixer (Saved in SYSTEM) This menu allows you to adjust the volume level of each audio source into each output channel. TSS Send determines the volume level of the dry (non-reverb) signal that is sent to the TSS Module. Volume adjustments are made in decibels, with 0dB corresponding to ON. Figure 17 shows the available routing options when using the Matrix Mixer.
Figure 17 – Matrix Mixer Diagram
18 Advanced Configuration More adjustments to external speaker output pairs can be made in this menu, including stereo settings, phase inversion, and delay. Use the SELECT KNOB to highlight the parameter field and the VALUE KNOB to select what parameter will be modified for each output. Use the SELECT KNOB to highlight the output channel you wish to modify and the VALUE KNOB to select values for a parameter.
Type This option allows each output pair to be configured as either stereo or x2 mono.
Invert This option allows a pair of external speakers to be phase inverted. This setting can be useful, for example, if the organist or audience experiences phase cancellation issues due to speaker placement.
Delay This setting adds a delay between when a key is pressed and when note sounds. This setting can be used to mimic an organ player/listener’s physical distance from the pipes. Values are given in number of audio samples. To calculate the delay in milliseconds, divide the delay in samples by 48.
= 48 𝐷𝐷𝐷𝐷𝐷𝐷𝐷𝐷𝐷𝐷 𝑖𝑖𝑖𝑖 𝑆𝑆𝑆𝑆𝑆𝑆𝑆𝑆𝑆𝑆𝑆𝑆𝑆𝑆 𝐷𝐷𝐷𝐷𝐷𝐷𝐷𝐷𝐷𝐷 𝑖𝑖𝑖𝑖 𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚𝑚
42 – Channel Volumes (Saved in SYSTEM) This menu controls the volume of internal and external output channels. Use the SELECT KNOB to choose which output channel to modify. Use the VALUE KNOB to change the output volume for that channel. Volumes are adjusted in decibels, with ON being 0dB. Volume can be set from -24dB to 0dB for each channel. To turn a channel completely off, use the VALUE KNOB to scroll below -24dB.
43 – Speaker Setup Rodgers Inspire series organs are pre-programmed with a number of suggested Speaker Setups. Selecting a Speaker Setup sets myriad parameters throughout the SERVICE MENUS. Speaker Setups are simply a quick way to establish a starting point for an installation. After a Speaker Setup is selected all parameters in the SERVICE MENUS can be altered in order to customize the organ as dictated by the needs and particularities of each installation. To select a speaker setup, use the VALUE KNOB to select the desired setup and press the SET PISTO to enable setup. The message “Completed” indicates that new settings have been applied in the SERVICE MENUS. These setups use channel pairs 1/2, 3/4, and 7/8. An additional speaker pair can be connected to channel pair 5/6. Using the Matrix Mixer, any audio
19 source can be routed to channel pair 5/6. Figure 18 shows summary of available Speaker Setups and the output channels they activate.
Figure 18 – Output Channels Activated by Speaker Setups
Speaker Setup 1 – Internal 2.1 For this setup, two internal speakers and one internal subwoofer is used. Speaker Setup 2 – Internal 2.1 + Satellite Front For this setup, two satellite speakers are used in addition to the Internal 2.1 speakers. This setup should be used when the satellite speakers are placed in front of the organist for additional volume. Note: This setup is available only when additional internal amplifier option is installed. Speaker Setup 3 – Internal 2.1 + Satellite Rear For this setup, two satellite speakers are used in addition to the Internal 2.1 speakers. This setup should be used when the satellite speakers are placed behind the organist for additional reverberation. Note: This setup is available only when additional internal amplifier option is installed. Speaker Setup 4 – External 2.2 In this setup, two external loudspeakers and two external subwoofers are used, as shown in Figure 19. Speaker Setup 5 – External 2.2 + Internal 2.1 In this setup, two external loudspeakers and two external subwoofers are used in addition to the internal speakers and subwoofer. External speakers are connected as shown in Figure 19.
20 Figure 19 – Speaker Setup 4 and 5
Speaker Setup 6 – External 4.2 In this setup, four external loudspeakers and two external subwoofers are used, as shown in Figure 20. Speaker Setup 7 – External 4.2 + Internal 2.1 In this setup, four external loudspeakers and two external subwoofers are used in addition to the internal speakers and subwoofer. External speakers are connected as shown in Figure 20. Speaker Setup 8 – External 4.2 Chambers In this setup, four external speakers and two external subwoofers are used. To simulate organ divisions located within a chamber, speakers should be grouped together according to division. External speakers are connected as shown in Figure 20. Speaker Setup 9 – External 4.2 Chambers + Internal 2.1 In this setup, four external speakers and two external subwoofers are used in addition to the internal speakers and subwoofer. To simulate organ divisions located within a chamber, external speakers should be grouped together according to division. External speakers are connected as shown in Figure 20.
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Figure 20 – Speaker connections for Speaker Setups 6, 7, 8 and 9
22 50 – System Console (Saved in SYSTEM) TAB Lamp Blink This determines if the tabs blink when a non-default Voice Palette is selected. Satellite Visible When set to ON, the satellite speakers become available for adjustment in the Equalizer, Matrix Mixer, and Channel Volume menus. Satellite speaker volume will also be shown when adjusting the VOLUME KNOB Internal Visible When set to ON, the Internal speaker volume will be shown when adjusting the VOLUME KNOB Factory Reset Use this option to reset either VOICINGS or AUDIO to factory settings. Note that there is a similar operation, “Reset Procedures” in User Menu item 6, “Utility.” User Reset Procedures will only affect parameters that are accessible in the User Menu (items 1 through 16). This factory reset option will reset parameters available in the service menu, including Stop Voicing, Equalizer, Matrix Mixer, and Channel Volume settings. Memory Bank Lock This feature allows the installer to LOCK individual memory levels; i.e. the combinations saved in the memory level can be recalled but cannot be changed and they cannot be un-locked by the user. Attempting to save a combination to a memory that is LOCKED will result in a NOT AVAILABLE message in the console display. In this case, select a different memory in order to save the combination.
BANK Use the VALUE KNOB to select a memory level.
PROTECT Use the VALUE KNOB to select LOCKED or UNLOCKED for each MEMORY LEVEL.
51 – Switch Assign (Saved in SYSTEM) The TOE PISTONS in Rodgers Inspire series organs can be re-assigned to perform different functions. Switch Use the VALUE KNOB to select a TOE PISTON. Toe Pistons can also be selected by pressing them while in this menu. Function Use the VALUE KNOB to scroll through the functions to which the selected toe piston can be re-assigned. Toe pistons can function as selectors for general registrations, pedal-specific registrations, or to advance/retreat the current general registration number. Additionally, they can be assigned to activate couplers or the 32’ Pedal stop. When a toe piston is set to SUSTAI , it acts as a sustain for certain orchestral voices.
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59 – Calibration This menu item automatically sets the analog to digital converter for proper expression shoe function. Select the menu and follow the instructions in the Console Display. The Console isplay will indicate “OK” when completed.
60 – Audio Test This menu item allows you to test each audio output channel to confirm that they work properly and to verify the position of each speaker within the installation. Note that settings in the “Channel Volumes,” menu will affect the output volume of these audio tests. Source Use the VALUE KNOB to select the Source. There are two wave shapes from which to choose; SINE and WHITE. SINE plays a 1 kHz tone that is good for general audio test needs. WHITE produces white noise across all frequencies. This can be useful while testing subwoofer channels. Level Use the VALUE KNOB to choose the output volume level. The range is 0% - 100%. Output Use the VALUE KNOB to choose the output channel that will be tested. The channels are listed here: OFF INTERNAL L INTERNAL R INTERNAL SUB L INTERNAL SUB R EXTERNAL 1 EXTERNAL 2 EXTERNAL 3 EXTERNAL 4 EXTERNAL 5 EXTERNAL 6 EXTERNAL 7 EXTERNAL 8 SATELLITE L SATELLITE R
24 69 – Program Use this menu to program Voice cards, Reverb cards, Factory Data, Demo Data, or Hymn Data from an external USB. Follow the instructions provided with the software update, being sure to create a Backup before performing any update.
Saving Data There are four ways to save data in Inspire organs. Data Saves are performed by holding the SET piston, then pressing the 0 (CANCEL) piston. Types of Data Saves Default Stops This save contains the Voice Palette selection and MIDI/ORCH tab settings. These stops will be used when the organ boots. Default stops can be loaded at any time by holding the 0 (CANCEL) piston for a period of several seconds. System This type of data save will restore data that is found in the following menus: Quick Menu - 5 Pitch/Tuning - 6 Room Type (selected reverb) - 8 Console - 10 Exp. Pedal - 13 Audio - 14 MIDI Service Menu - 30 Pipe Modeling - 40 Equalizer - 41 Matrix Mixer - 42 Channel Volumes - 50 System Console - 51 Switch Assign Voicing This data save will store all the Stop Voicing data in Service Menu Item 31, Stop Voicing, for both organ and orchestral voices. This includes such parameters as Panning, Level, Tuning, bass/treble filters per key, etc. System + Voicing Saves data listed above for System and Voicing data saves.
25 INSPIRE VOICING TIPS
How to make the organ louder Go into Menu 41 Matrix Mixer. For each division, increase the desired level per speaker pair. Save to System.
How to configure the organ for 1 subwoofer Go into Menu 41 Matrix Mixer. Highlight [Advanced Cfg]. Push the Menu/Select knob.
Change Ext. 7/8 to 2x Mono. Use either channel 7 or 8 from the amplifier to the sub. Save to System.
Two Antiphonal audio solutions 1. Using channels 5 & 6 (Main Off/Ant On is not available.) Go into #42 Channel Volumes and turn on Ext 5/6.
Go into #41 Matrix Mixer. For each division, adjust the desired level. Save to System.
2. Using Satellite speakers (two FR1s) Go into #43 and select Speaker Setup #2.
Go into #42 Channel Volumes and turn on Ext. 1/2, 3/4, 7/8 .
Go into #41 Matrix Mixer and for each division, adjust the desired level. Save to System.
Antiphonal volume can be manually adjusted using the upper left knob. There is no Main Off.
26 How to disable random detuning for Celeste ranks Inspire organs cannot disable random detuning per rank. Therefore, the solution is: Go into menu 30 Pipe Modeling. Turn Random Tuning to OFF. (This is a global parameter.) Save to System.
Go into Menu 31 Stop Voicing. Double-click a Celeste tab. It flashes. Select [Note Voicing]. Press the MENU knob.
Change the Rank to R-1. (the Unison rank). Hold SET and tap C1 then C61. Release SET. Change the Tune value to 0 cts.
Change the Rank to R-2. (the Celeste rank). Tune the celeste to your preference. A value of 0 does not mean A=440. Unfortunately, you cannot hear both ranks as you adjust one of the ranks. To hear both ranks, change R-2 to ALL.
Now, create random detuning manually for other stops. Select another stop. Go into [Note Voicing]. Hold SET and tap C1 then C61. Release SET. Rotate the upper left knob to
How to change the level of Chimes Go into menu 31 Stop Voicing. Triple-click the Chimes thumb piston. Go into [Note Voicing].
Select the range of notes you wish to adjust. Change the Level as desired. Save to Voicing.
27 How to create a String Celeste in the Great (Inspire 233) (Crediting David Brackley of S.B. Smith & Associates for this idea) Go into Menu #31 Stop Voicing. Double-click Great Gamba 8. Flat-line its tuning to 0 for all notes. Double-click Great Erzahler Celeste, dial to VP1 Salicional. Detune and voice the Salicional to create a celested pair to the Gamba. Save to Voicing.
Orchestral voice sustain Sustainable Orchestral Voices are: Piano, Elec Piano, Celesta, Strings, Slow Strings.
A sustain switch can be configured in any of 3 ways: • Menu 10 “Exp. Pedal” > Kick Sw (Off, Next, Prev, Sustain, Gosp Rotor) • Menu #51 “Switch Assign,” a Pedal toe piston can be configured as sustain. • Menu #8 “Console,” Pedal F Damper (on) and Pedal F# Sustain (on), the organist can rest their right heel on F18 and press F#19 as a sustain switch. o When any lit-up Orch tabs are set as a sustaining orchestral voice, Pedal organ stops and any Pedal couplers are muted for notes F18 to G32. o Pedal damper F and Pedal sustain F# are default settings on Inspire organs; however, they can be changed in menu #8. The kick-switch default setting is Gosp Rotor. o Harp sustains without pressing pedal F#. However, pressing pedal F will dampen it.
For the customer who wants theater organ tremulants/Silent Movie accompaniment Inspire organs have no theater organ samples. However, theater organ tremulants can be imitated by this method: Go into menu 30 Pipe Modeling. Adjust the Trem settings > Rate to 12.7 Hz for Great and Swell. Save to System. Go into menu 31 Stop Voicing. Select a stop and go into Note Voicing > TrmD (Trem Depth). Increase the value to 50 cents for all 61 notes. Repeat for all stops. Save to Voicing.
28 DID YOU KNOW?
The Inspire Owner’s Manual is loaded onto the Inspire USB that is shipped with the organ. Additionally, the Inspire Owner’s Manual can be downloaded from rodgersinstruments.com on the “Support” page > Downloads. Inspire Service and Installation Manuals are available on rodgerstech.com. Click the Inspire logo; click the photo of the 227 or 233; click “Service and Installation manual.”
29 DEDICATED TO MOVING HEARTS AND SOULS Since 1958, Rodgers has been committed to heightening the spiritual experience of audiences with the transformational power of music. Rodgers organs not only capture the essence of American pipe organ sound, they have led the way in making organs more accessible to places of worship, universities, music schools, and enthusiasts around the world.
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