CF-10 28 Stops / Two-Manuals

Total Page:16

File Type:pdf, Size:1020Kb

CF-10 28 Stops / Two-Manuals CF-10 28 Stops / Two-Manuals BUILT TO INSPIRE GENERATIONS INDUSTRY STANDARD LED STOP CONTROLS VELOCITY-SENSITIVE KEYBEDS Console shown with optional Antiphonal Relays, and Theatre engravings in red ©2017 AOC PN: 030-00522 CHANCEL™ CF-10 (Standard and Optional Suites, Page 1) Classic Allen (standard) Cavaillé-Coll (optional) Schlicker (optional) English (optional) PEDAL PÉDALE PEDAL (mainly Willis samples) 16 BOURDON 16 FLÛTE 16 SUBBASS PEDAL 16 LIEBLICH BOURDON (SW) 16 BOURDON DOUX (RÉC) 16 LIEBLICH GEDECKT (SW) 16 BOURDON 8 OCTAVE 8 BASSE 8 OCTAVE 16 LIEBLICH FLUTE (SW) 8 FLÛTE 8 FLÛTE 8 METAL GEDECKT 8 OCTAVE 4 SUPER OCTAVE (GT) 4 PRESTANT (G.O.) 4 SUPER OCTAVE (GT) 8 BASS FLUTE MIXTURE IV MIXTURE IV RAUSCH-PFEIFE III 4 CHORAL BASS (GT) 16 BOMBARDE 16 BOMBARDE 16 FAGOTT MIXTURE IV 4 CLARION 4 CLARION 4 CLARION 16 OPHICLEIDE GREAT TO PEDAL TIRASSE / G.O. GREAT TO PEDAL 4 CLAIRON SWELL TO PEDAL TIRASSE / RÉCIT SWELL TO PEDAL GREAT TO PEDAL MIDI ON PEDAL MIDI ON PÉDALE MIDI ON PEDAL SWELL TO PEDAL MIDI ON PEDAL SWELL RÉCIT SWELL 8 GEDACKT 8 BOURDON 8 GEDECKT SWELL 8 VIOLE 8 SALICIONAL 8 SALICIONAL 8 FLUTE 8 VOIX CELESTE 8 VOIX CÉLESTE 8 VOIX CELESTE 8 SALICIONAL 4 OCTAVE GEIGEN 4 PRESTANT 4 GEMSHORN 8 VOX ANGELICA 4 TRAVERSE FLUTE 4 FLÛTE TRAVERSIÈRE 4 ROHRFLOETE 4 PRINCIPAL 2-2/3 NASARD 2-2/3 NASARD 2-2/3 NASAT 4 CONCERT FLUTE 2 PICCOLO 2 OCTAVIN 2 NACHTHORN 2-2/3 NASARD 1-3/5 TIERCE 1-3/5 TIERCE 1-3/5 TERZ 2 FLAGEOLET PLEIN JEU IV PLEIN-JEU IV MIXTURE IV 1-3/5 TIERCE 16 BASSON 16 BOMBARDE 16 DULZIAN MIXTURE IV 8 TROMPETTE 8 TROMPETTE 8 TROMPETE 16 BASSON TREMULANT TRÉMOLO TREMULANT 8 TRUMPET MIDI ON SWELL MIDI ON RÉCIT MIDI ON SWELL TREMULANT MIDI ON SWELL GREAT GRAND-ORGUE GREAT 16 LIEBLICH GEDACKT (SW) 16 BOURDON DOUX (RÉC) 16 LIEBLICH GEDECKT (SW) GREAT 8 PRINCIPAL 8 MONTRE 8 PRINCIPAL 16 LIEBLICH FLUTE (SW) 8 HARMONIC FLUTE 8 FLÛTE HARMONIQUE 8 KUPFER GEDECKT 8 OPEN DIAPASON 8 FLUTE CELESTE II (SW) 8 FLÛTE CÉLESTE II (RÉC) 8 FLUTE CELESTE II (SW) 8 STOPPED DIAPASON 4 OCTAVE 4 PRESTANT 4 OCTAVE 8 FLUTE CELESTE II (SW) 4 FLUTE 4 FLÛTE 4 KOPPEL FLOETE 4 OCTAVE 2 FIFTEENTH 2 DOUBLETTE 2 PRINCIPAL 4 LIEBLICH GEDECKT MIXTURE IV PROGRESSION HARMONIQUE IV MIXTURE IV-V 2 FIFTEENTH CHIMES CARILLON CHIMES MIXTURE IV TREMULANT TRÉMOLO TREMULANT CARILLON SWELL TO GREAT RÉCIT / G.O SWELL TO GREAT TREMULANT MIDI ON GREAT MIDI ON G.O. MIDI ON GREAT SWELL TO GREAT MIDI ON GREAT GENERAL GENERAL GENERAL BASS COUPLER BASS COUPLER BASS COUPLER GENERAL MELODY COUPLER MELODY COUPLER MELODY COUPLER BASS COUPLER TREMULANTS FULL GRAND TRÉMOLO TREMULANTS FULL MELODY COUPLER ALTERNATE TUNING ALTERNATE TUNING ALTERNATE TUNING TREMULANTS FULL ALTERNATE TUNING Specifications subject to change without notice or obligation. ©2017, Allen Organ Company, LLC. All Rights Reserved. PN: 030-00518 CHANCEL™ CF-10 (Standard and Optional Suites, Page 2) Arp Schnitger (optional) Aeolian Skinner (optional) Wurlitzer, Barton, Morton (optional) PEDAL PEDAL PEDAL 16 SUBBASS 16 BOURDON 16 TIBIA CLAUSA 16 ROHRFLÖHT (OB) 16 ROHR BOURDON (SW) 16 BOURDON 8 OCTAVA 8 OCTAVE 8 OPEN DIAPASON 8 FLÖHT 8 FLUTE 8 TIBIA CLAUSA 4 OCTAVA (OB) 4 SUPER OCTAVE (GT) 8 CONCERT FLUTE MIXTURE VI-VIII MIXTURE IV TAP CYMBAL 16 POSAUNE 16 BOMBARDE 16 OPHICLEIDE 4 TROMMET 4 CLARION 8 TUBA HORN HW TO PD GREAT TO PEDAL ACC. TO PEDAL OB TO PD SWELL TO PEDAL SOLO TO PEDAL MIDI ON PD MIDI ON PEDAL MIDI ON PEDAL OBERWERK SWELL SOLO 8 ROHRFLÖHT 8 ROHR BOURDON 16 TIBIA CLAUSA 8 GAMBE 8 VIOLE DE GAMBA 8 TIBIA CLAUSA 8 GAMBA CELESTE 8 VIOLE CELESTE 8 VIOLINS II 4 OCTAVA 4 OCTAVE GEIGEN 4 OCTAVE 4 SPITZFLÖHT 4 FLAUTO TRAVERSO 4 PICCOLO 2-2/3 NASAT 2-2/3 NASARD 2-2/3 TWELFTH 2 NACHTHORN 2 PICCOLO 2 PICCOLO 1-3/5 TERZ 1-3/5 TIERCE 1-3/5 TIERCE SCHARFF IV-VI PLEIN-JEU III GLOCKENSPIEL 16 POSAUNE 16 CONTRE TROMPETTE 8 TUBA HORN 8 TROMMET 8 TROMPETTE 8 CLARINET TREMULANT TREMULANT MIDI ON SOLO MIDI ON OB MIDI ON SWELL ACCOMPANIMENT HAUPTWERK GREAT 8 TIBIA CLAUSA 16 ROHRFLÖHT (OB) 16 ROHR BOURDON (SW) 8 OPEN DIAPASON 8 PRINCIPAL 8 PRINCIPAL 8 CONCERT FLUTE 8 SPITZFLÖHT 8 BOURDON 8 VIOLINS 2 RKS. 8 FLÖHT CELESTE II (OB) 8 FLUTE DOLCE CELESTE II (SW) 4 OCTAVE 4 OCTAVA 4 OCTAVE 4 CONCERT FLUTE 4 FLÖHT 4 FLÛTE HARMONIQUE 4 PICCOLO 2 SUPEROCTAV 2 FIFTEENTH 8 VOX HUMANA RAUSCHPFEIFE II MIXTURE IV CHRYSOGLOTT 8 TROMMET CHIMES SOLO TO ACC. TREMULANT TREMULANT MIDI ON ACC. CHIME SWELL TO GREAT OB TO HW MIDI ON GREAT TREMULANTS TIBIA/VOX GENERAL GENERAL MAIN BASS COUPLER BASS COUPLER MELODY COUPLER MELODY COUPLER TREMULANTS FULL TREMULANTS FULL ALTERNATE TUNING ALTERNATE TUNING Specifications subject to change without notice or obligation. ©2017, Allen Organ Company, LLC. All Rights Reserved. PN: 030-00518 CHANCELTM CF-10 Technical Speci cations • Standard stop list: Classic Allen • Console Dimensions: Width 57-1/4” (145.4 cm); Height 45-3/4” (116.2 cm); Depth 30” (76.2 cm) without • Optional stop lists include: pedalboard, 49-1/2” (124.7 cm) with pedalboard English (mainly Willis samples), Cavaillé-Coll, Schlicker, Arp Schnitger, Aeolian-Skinner, and three additional Capture Action Th eatre stop lists Wurlitzer, Barton, Morton • Stop Controls: LED stop controls • General Pistons: 10 • Console Controller™ with multiple tunings and other • Divisional Pistons: 6 advanced console features • Capture Memories: 16 • Other: Tutti I, Tutti II, Crescendo B, Set, Cancel • Hymn-Player™ - automatically plays over 150 hymns Audio System • User-de ned Crescendo and Tuttis • Two channels self-contained speakers • External speakers (optional) • Keyboards – Industry standard velocity-sensitive Unique Allen Voicing Capabilities ensures that • Acoustic Portrait™ - a wide range of real sampled CHANCEL organs can be perfectly matched to the acoustics from small rooms to large cathedrals environment in which it is installed. Controls include: - Stop-by-stop and note-by-note adjustments • Advanced MIDI Capabilities - Parametric Equalization (PEQ) - Alternative stop voices (upon request) • 10 year limited warranty. See warranty for details. CHANCEL CF-10 Options: Console Speci cations • Antiphonal Relays • Console: AGO • Headphone Jack • Pedalboard: AGO • Lighted, clear-acrylic music rack and pedal light • Number of Manuals: 2 • Expression Pedals: 3 (Great-Pedal, Swell, Crescendo) Contact your Allen Representative for more information • Expression Pedals Construction: Cast Aluminum about how CHANCEL instruments can be modifi ed to suit • Clear-acrylic music rack your specifi c needs and tastes. • Bar Graph Expression Indicator • Lift -lid Bench / Storage Area Speci cations and con gurations subject to change without • Medium Oak console with locking roll top notice or obligation. o Console & Roll Top Veneers: Wood o Console Special Finishes (optional) ©2017 Allen Organ Company, LLC. All rights reserved. PN: 030-00514 150 Locust Street, Macungie, PA 18062 USA • Phone: 610-966-2202 • E-mail: [email protected] • Web Site: www.allenorgan.com.
Recommended publications
  • THEATRE VOICES PEDAL • 32 Contra Violone • 16 Ophicleide • 16
    THEATRE VOICES CLASSICAL VOICES GREAT PEDAL • 16 English Post Horn French Trompette • 32 Contra Violone Contra Violone • 16 Brass Trumpet (ten c) Trompete • 16 Ophicleide Posaune • 16 Bombarde Tromba • 16 Diaphone Diapason • 16 Diaphone Diapason • 16 Violone Violone • 16 Solo Tibia Clausa (ten c) Bourdon • 16 Bourdon Bourdon • 16 Tibia Clausa (ten c) Gedackt • 8 English Post Horn French Trompette • 16 Clarinet Cromorne • 8 Trumpet Tromba • 16 Krumet (ten c) Krumet • 8 Open Diapason Octave • 16 Orchestral Oboe (ten c) Basson • 8 Solo Tibia Clausa Gedackt • 16 Saxophone (ten c) English Horn • 8 Tibia Clausa (Pizz.) • 16 Violins 3 Rks (ten c) Violas III • 8 Clarinet Cromorne • 16 Vox Humana (ten c) Vox Humana • 8 Flute Harmonic Flute • 8 English Post Horn French Trompette • 16 Piano Choralbass 4 • 8 Brass Trumpet Trompete • 8 Piano Mixture III • 8 Tuba Mirabilis Tromba • Accomp to Pedal • 8 Trumpet Trumpet • Bass Drum Great to Pedal • 8 Open Diapason Principal • Tap Cymbal (Brush) • 8 Solo Tibia Clausa Bourdon • 8 Tibia Clausa Gedackt ACCOMP • 8 Clarinet Cromorne • 8 English Post Horn French Trompette • 8 Krumet Krumet • 8 Brass Trumpet Trompete • 8 Orchestral Oboe Hautbois • 8 Tuba Mirabilis Tromba • 8 Saxophone English Horn • 8 Trumpet Trumpet • 8 Violins 3 Rks Violas III • 8 Open Diapason Principal • 8 Quintadena Quintadena • 8 Tibia Clausa (m) Gedackt • 8 Concert Flute Harmonic Flute • 8 Clarinet Cromorne • 8 Vox Humana Vox Humana • 8 Violins 3 rks Violas III • 5-1/3 Fifth (Tibia) Quintflöte • 8 Oboe Horn Oboe Horn • 4 Octave Octave •
    [Show full text]
  • Pedal 32 Contra Diaphone C. Bomb 32 Contra Tibia
    PEDAL 8 VOX HUMANA (S) 8 TRUMPET 32 CONTRA DIAPHONE C. BOMB 8 VOX HUMANA 8 STYLE D TRUMPET 32 CONTRA TIBIA CLAUSA 4 OCTAVE 8 TUBA HORN 16 BOMBARDE 4 OCTAVE HORN 8 OPEN DIAPASON 16 DOUBLE ENGLISH HORN 4 PICCOLO 8 HORN DIAPASON 16 OPHICLEIDE 4 SOLO STRING 2 RKS 8 SOLO TIBIA CLAUSA 16 DIAPHONE 4 VIOL 2 RKS 8 TIBIA CLAUSA 16 DIAPHONIC HORN 4 GAMBETTE 2 RKS 8 CLARINET 16 SOLO TIBIA CLAUSA 4 LIEBLICH FLUTE 8 KINURA CLARION 4 16 BASS CLARINET 4 CONCERT FLUTE 8 ORCHESTRAL OBOE 16 CONTRA GAMBA 2 RKS 4 VOX HUMANA (M) 8 MUSETTE FRENCH HORN 16 OBOE HORN 2 2/3 TWELFTH 8 KRUMET 16 BOURDON 2 PICCOLO 8 SAXOPHONE 16 GEMSHORN 2 RKS OCTAVE 8 SOLO STRING 2 RKS 8 TUBA MIRABILIS SOLO ON ACCOMP. 8 VIOLIN 2 RKS 8 ENGLISH HORN BOMBARDE 8 GAMBA 2 RKS 8 TUBA HORN MIDI ON ACCOMP. 8 QUINTADENA 8 OPEN DIAPASON 8 PIANO OPEN DIAP. 8 LIEBLICH FLUTE 8 HORN DIAPASON HARP SUB MIXTURE IV 8 VOX HUMANA (S) 8 SOLO TIBIA CLAUSA HARP SCHARF IV 8 VOX HUMANA 8 TIBIA CLAUSA SOLO CHRYSOGLOTT 4 SOLO PICCOLO 8 TIBIA CLAUSA PIZZ. CHRYSOGLOTT MIXTURE III 4 PICCOLO 8 CLARINET SNARE DRUM 2 2/3 SOLO TWELFTH 8 CELLO 2 RKS CASTANETS 2 SOLO PICCOLO 8 FLUTE TAMBOURINE 2 PICCOLO ACCOMP. TO PEDAL WOOD BLOCK 1 3/5 SOLO TIERCE GREAT TO PEDAL TOM-TOM 1 1/3 SOLO LARIGOT SOLO TO PEDAL CHOKE CYMBAL SUB OCTAVE MIDI ON PEDAL TAP CYMBAL UNISON OFF 16 PIANO OPEN DIAP.
    [Show full text]
  • M. P. Möller – 3-Manual Organ, 1951 the Robert Turner – 5-Manual Console, 1998 Robert Walker – Digital Sounds, 1998
    ORGAN M. P. Möller – 3-Manual Organ, 1951 The Robert Turner – 5-Manual Console, 1998 Robert Walker – Digital Sounds, 1998 Great Choir Swell Solo Organ Organ Organ Organ Gemshorn 16′ Erzähler 16′ Rohrbourdon 16′ Contra Gamba 16′ Bourdon 16′ Principal 8′ Geigen Diapason 8′ Flauto Mirabilis 8′ Montre 8′ Gedeckt 8′ Rohrflöte 8′ Gamba 8′ Principal 8′ Viola 8′ Viole de gambe 8′ Gamba Celeste 8′ Bourdon 8′ Viola Celeste 8′ Voix céleste 8′ Orchestral Flute 4′ Flûte harmonique 8′ Dulciana 8′ Muted Viols II 8′ Posaune 16′ Gemshorn 8′ Unda Maris 8′ Flute Celeste II 8′ Double English Octave 4′ Prestant 4′ Muted Flute Celeste Horn 16′ Flûte octaviante 4′ Koppelflöte 4′ II Orchestral Oboe 8′ Quinte 2 2/3′ Nazard 2 2/3′ Principal 4′ English Horn 8′ Superoctave 2′ Principal 2′ Flûte 4′ Corno di Bassetto 8′ Waldflöte 2′ Tièrce 1 3/5′ Blockflöte 2′ French Horn 8′ Tièrce 1 3/5′ Larigot 1 1/3′ Plein Jeu III- Tuba Mirabilis 8′ Mixture III-IV Sifflöte 1′ IVCymbel III-IV Jubilate Deo (Great) Scharf II-IV Zimbel III-IV Contre Bassoon 16′ Tuba Clarion 4′ Contra Trompete 16′ Cor Anglais 16′ Trompette 8′ Tremolo Trompete 8′ Clarinet 8′ Bassoon 8′ Chimes (Choir) Clarion 4′ Krummhorn 8′ Vox Humana 8′ Harp (Choir) Jubilate Deo 8′ Trompette Clairon 4′ Celesta (Choir) Chimes (Choir) harmonique 8′ Jubilate Deo (Great) Midi Midi Jubilate Deo (Great) Tremolo Solo Sub Great Sub Regal 4′ Midi Solo Unison Off Great Unison Off Chimes Swell Sub Solo Super Great Super Tremolo Swell Unison Off Harp Swell Super Celesta Harp Damper Zimbelstern Choir Sub Choir Unison Off Choir Super Antiphonal Pedal Console Mechanicals The remote style multi level combination Organ Organ system has 32 levels of memory, four ad- Montre 8′ Contre Bourdon 32′ jutable crescendi with a 60 step digital Cor de Nuit 8′ Contre Violone 32′ readout display.
    [Show full text]
  • Wurlitzer's Style 216 Was His Creation
    Style 216 Wurlitzer in the Rialto Th eatre, Pasadena. B 'henct & Kaufmann Archn-es The Rare Breed by Tom Delay The late summer of 1925 saw the first gans, often with only an 8' manual Tibia In addition to keeping the same basic shipment of a scarce two-manual, ten-rank Clausa. As late as 1928, Wurlitzer pro­ list of ranks , he specified the ubiquitou s style of Wurlitzer theatre pipe organ. ducecl a style 210 2/9 with only an 8' Tibia English (post) Hom added to the Solo, and Much has been said over the years about - no 4' Piccolo , let alone Tibia Twelfth moved the Orchestral Oboe to the Solo the style 216 Wurlitzer, but not since the or Piccolo 2'. As an organist for Fox West from the Main . early 1960s has much been seen in print Coast Theatres he carried some degree of For an organ designed in 1928, it had a about what makes a style 216 such a dif­ weight and persuaded the Wurlitzer Com­ swprisingly modem stop layout. However , ferent breed. At that time, Gordon Kibbee pany to respecify their style 210: by today 's concert standards the Tibia included the 216 in his excellent series on MAIN SOLO Clausa 's appearance at only 8'-4' might Wurlitzer style specifications. (THEATRE Flute 16-2 Vox Humana 8 seem unthinkable , it was a major improve­ ORGAN, Fall 1960, page 9) Viol 'd Orchestre 8-2 Tuba Hom 16-4 ment towards the present day expectations Unknown, except by reputation , outside Open Diapason 16-4 Tibia Clausa 8 of a theatre organ.
    [Show full text]
  • The Influence of Plainchant on French Organ Music After the Revolution
    Technological University Dublin ARROW@TU Dublin Doctoral Applied Arts 2013-8 The Influence of Plainchant on rF ench Organ Music after the Revolution David Connolly Technological University Dublin Follow this and additional works at: https://arrow.tudublin.ie/appadoc Part of the Musicology Commons Recommended Citation Connolly, D. (2013) The Influence of Plainchant on rF ench Organ Music after the Revolution. Doctoral Thesis. Dublin, Technological University Dublin. doi:10.21427/D76S34 This Theses, Ph.D is brought to you for free and open access by the Applied Arts at ARROW@TU Dublin. It has been accepted for inclusion in Doctoral by an authorized administrator of ARROW@TU Dublin. For more information, please contact [email protected], [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 4.0 License The Influence of Plainchant on French Organ Music after the Revolution David Connolly, BA, MA, HDip.Ed Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in Music Dublin Institute of Technology Conservatory of Music and Drama Supervisor: Dr David Mooney Conservatory of Music and Drama August 2013 i I certify that this thesis which I now submit for examination for the award of Doctor of Philosophy in Music, is entirely my own work and has not been taken from the work of others, save and to the extent that such work has been cited and acknowledged within the text of my work. This thesis was prepared according to the regulations for postgraduate study by research of the Dublin Institute of Technology and has not been submitted in whole or in part for another award in any other third level institution.
    [Show full text]
  • Basic Organ Registration by Margot Ann Woolard
    Basic Organ Registration By Margot Ann Woolard Example 1 Introduction and Pitches Great: Spitzprincipal 8’ Swell: Rohrflöte 16’ & Great: Praestant 4’ Swell: Nazard 2-2/3’ & Swell: Blockflöte 2′ Swell: Tierce 1 – 3/5’ & Positiv: Larigot 1–1/3’ Positiv: Sifflöte 1′ Example 2 Principal (Diapason) Chord Progression and Scale Great: Spitzprincipal 8’ Praestant 4’ Spitzprincipal 8’ & Praestant 4’ Example 3 Flutes (open and stopped) Chord Progression and Scale Open Flute - Choir: Hohlflöte 8’ Stopped Flute – Swell: Rohrflöte 8’ Example 4 String Stops Chord Progression and Scale Swell: Viole de Gambe 8’ Example 5 Reed Stops Chord Progression and Scale Solo Reed – Choir: Cromorne 8’ Chorus Reed – Swell: Trompette 8’ Example 6 Principal Chorus Prelude in C Major (Eight Preludes and Fugues), J.S. Bach Great: Spitzprincipal 8’, Praestant 4’, Octave 2’ Pedal: Principal 16’, Octave 8’, Choral Bass 4’ Example 7 Stopped Flutes Number Six (Seven Pieces in E flat Major and E flat Minor, L’Organiste) Franck 1. Great : Bourdon 8’ 2. Swell: Viole de Gambe 8’ 3. Great: Bourdon 8’ Swell: Viole de Gambe 8’, Swell to Great coupler Example 8 Open Flutes Minuet (Musical Clocks), Haydn Positiv: Nachthorn 4’ Allein Gott in der höh sei Her, Zachau 1 Open Flute Chorus – Choir: Hohlflöte 8’, Positiv: Nachthorn 4’ Swell: Blockflöte 2’ Swell to Choir coupler Example 9 String Stops All Glory be to God on High (79 Chorales), Marcel Dupré Swell: Viole de Gambe 8’ (accompaniment) Great: Bourdon 8’ (melody) Pedal : Rohrflöte 16’. Rohrflöte 8’ (bass) Example 10 Voix Celeste
    [Show full text]
  • MX-200 Triune Music “Expanded” Module
    MX-200 Triune Music “Expanded” Module TONES Organ tones: 198 Orchestral tones: 148 GM2/GS tones: 386 Others: 512 ORGAN TONES (sampling) REEDS MIXTURES 16’ Chamade IV Grand Cornet 32’ ORGAN FLUES 16’ + 8’ Chamade VIII Gabler Mixture 16’ Montre 16’ + 8’ + 4’ Chamade VI Pedal Grand Mixture 16’ Boudon 16’ Royal Trumpet VI Plein Jeu 16’ Pommer 16’ Posthorn V Gabler Cornet 16’ Quintadena 16’ Heckelphone V Flute Cornet 16’ Dulciana 16’ Posaune V Grand French Mixture 8’ First Diapason 16’ Contre Trompette IV-VI Fourniture (SS) 8’ Second Diapason 16’ + 8’ Voxes IV-VIII Mixutre (HO) 8’ Montre 16’ + 4’ Voxes IV Fourniture 8’ Second Diapason (with Trem) 8’ Tuba Major FFF IV Scharf 8’ Bach Prinzipal 8’ State Trumpet FFF IV Grave Mixture 8’ Gross Flute 8’ Royal Trumpet IV Echo Mixture 8’ Gamba 8’ Royal Tuba IV Rauschquint 8’ Flute Harmonique 8’ Posthorn III Carillon (StE) 8’ Harmonic Flute 8’ Trumpet II Sesquialtera 8’ Harmonic Flute (with Trem) 8’ Trompette II Sesquialtera (with Trem) 8’ Holzgedackt 8’ Regal IV Cornet 4’ 8’ Quintadena 8’ Dulzian IV Cornet 4’ (with Trem) 8’ Quintadena (with Trem) 8’ Dulzian (with Trem) II Quartane 8’ Quintaden 8’ Kinura II Jeu de Clochette 8’ German Gemshorn 8’ Kinura (with Trem) 5-1/3’ Gross Quint 8’ Dulciana 8’ Clarinet 3-1/5’ Gross Terz 8’ & 4’ Bourdon 8’ French Clarinet 8/9’ None 8’ & 2-2/3’ Flute 8’ French Cromorne 8’ & 2’ Gedackt 8’ French Horn CELESTES 5-2/3’ Gross Flute 8’ French Horn (with Trem) 16’ 8’ 4’ + Vox Celestes VII 5-1/3’ Gross Tierce 8’ English Horn 16’ 8’ 4’ Celestes VI 2-2/3’ German Quinte 8’ English
    [Show full text]
  • RTOS Organ Specs As Built
    Rochester’s RKO Palace 4/21 Wurlitzer - Opus 1951 12/25/1928 Original specification by house organist Tom Grierson The instrument known today as the RTOS-GRIERSON 4/23 Wurlitzer began life as a 4-manual, 21-rank Special, Opus 1951. It was shipped from North Tonawanda on September 12, 1928 to the new 2916-seat Keith-Albee Palace Theatre (later renamed RKO Palace) on Clinton Avenue North at Mortimer Street in Rochester, NY. It was premiered on Christmas Day of that year by Rochester organist Tom Grierson who is said to have participated significantly in the specification of the instrument. Over the years Wurlitzer historians have often commented that Tom’s British roots are strongly reflected in its design. While Opus1951 is often said to be similar to a Publix #1, there were a number of differences. Besides having one more rank in the solo chamber and a 15 hp blower, other significant variations include: Main chamber: • The Tuba horn (16 ´ - 4 ´) was not placed in the main, but in the solo chamber instead. • The Dulciana and Solo String I ranks were not included in this instrument. • A 15” wp Gamba (16 ´ - 4 ´), Violin (8 ´ - 4 ´) and Violin Celeste (8 ´ - 4 ´ tc) were included. • The Diaphonic Diapason (16 ´ - 8 ´) is 73 notes and has no 4 ´ octave. Solo Chamber: • There was no Vox Humana in the solo. • There is a Horn Diapason (8 ´) in the solo • The Tuba Mirabilis is extended to 16 ´ (wood) Bombarde. • Piano, Sleigh Bells, Vibraphone mechanism and second Xylophone were not included. Console: • No “master” swell pedal.
    [Show full text]
  • Theatre Owner's Manual
    TH-202/TH-302 Theatre Models IMPORTANT! Organs which contain GeniSys™ technology no longer include the GeniSys™ Controller Guide within the model specific Owner’s Manual. The correct GeniSys™ Controller Guide must be downloaded and/or printed separately. Please check the CODE version of the software installed within the organ to determine which version of the GeniSys™ Controller Guide is required. The CODE version is briefly displayed within the GeniSys™ Controller’s LCD display when the organ starts up. Copyright © 2016 Allen Organ Company All Rights Reserved AOC P/N 033-00221-1 Revised 10/2016 ALLEN ORGAN COMPANY For more than sixty years--practically the entire history of electronic organs-- Allen Organ Company has built the finest organs that technology would allow. In 1939, Allen built and marketed the world’s first electronic oscillator organ. The tone generators for this instrument used two hundred forty-four vacuum tubes, contained about five thousand components, and weighed nearly three hundred pounds. Even with all this equipment, the specification included relatively few stops. By 1959, Allen had replaced vacuum tubes in oscillator organs with transistors. Thousands of transistorized instruments were built, including some of the largest, most sophisticated oscillator organs ever designed. Only a radical technological breakthrough could improve upon the performance of Allen’s oscillator organs. Such a breakthrough came in conjunction with the United States Space Program in the form of highly advanced digital microcircuits. In 1971, Allen produced and sold the world’s first musical instrument utilizing digitally sampled voices! Your organ is significantly advanced since the first generation Allen digital instrument.
    [Show full text]
  • The Rodgers 579Is the Most Full-Featured 2 Manual Organ You'll
    The Rodgers 579 is the most full-featured 2 manual organ you’ll find in its class, built with the same high-quality cabinet and extra features that come in larger models, including double expression, crescendo pedal, 10 toe pistons, expanded voicing capability and powerful tone generation system. Organists will appreciate the useful Organ Type piston that instantly calls up any of four sets of stops, while still allowing the selection of any desired alternative from Voice Palette™ or User Voices. Manual I (Great) Couplers: II/I (SW to GT) Specifications Tablet VP1 VP2 VP3 29 stops / 241 total voices Bourdon 16’ Violone 16’ Principal 16’ Quintaton 16’ 29 primary voices Principal 8’ Open Diapason 8’ Montre 8’ Prinzipal 8’ 87 Voice Palette™ voices Gemshorn 8’ 2nd Diapason 8’ Voce Umana II 8’ Aeoline 8’ 92 User pipe organ voices Gedackt 8’ Clarabella 8’ Flûte Harmonique 8’ Bourdon 8’ 32 User orchestral voices Octava 4’ Principal 4’ Flûte à Bec 4’ Fugara 4’ Chimes Rohrflöte 4’ Open Flute 4’ Lieblichflöte 4’ Kleine Gedackt 4’ General Pistons: 10 Quinte 2-2/3’ Twelfth 2-2/3’ Nazard 2-2/3’ Quintaden 8’ Divisional Pistons: 5 Great, 5 Swell Superoctav 2’ Fifteenth 2’ Doublette 2’ Piccolo 2’ Toe Pistons: 10 configurable Mixtur IV Tierce Mixture V Cornet V Rauschquint IV Couplers: 3 plus 6 User/MIDI Controls Trumpet 8’ Waldhorn 8’ Trompette 8’ Cromorne 8’ Bass and Melody Couplers Chimes Tremulant: 2 Tremulant Shoes: 2 Expression, Crescendo Manual II (Swell) Memory: 20 levels x 20 pistons (400) Tablet VP1 VP2 VP3 Console dimensions: Spitz Geigen 8’
    [Show full text]
  • Sounds So Good
    MS 376 DiscoverSounds for Yourself So Why it Good Inspiration, Innovation and Assurance Since 1958 RECORD PLAYBACK USB MEMORY PERFORMANCE TOUCH When you choose a Masterpiece Signature organ, professional organ design comes with the package. Created by Rodgers’ team of master organ designers, Signature organs deliver magnificent sound with powerful, exciting performance, exquisitely crafted specifications, and popular features MS 376 like built-in record/playback functions and USB memory storage. Customization options are available. VOICE PALETTE VOICE PALETTE VOICE PALETTE GREAT ALTERNATIVE STOPS SWELL ALTERNATIVE STOPS CHOIR ALTERNATIVE STOPS Double Diapason 16 Violone 16 Lieblich Gedackt 16 Viola 16 Erzähler 16 Geigen 16 Diapason 8 Prinzipal 8 Principal 8 Dulciana 8 Quintade 16 Principal Céleste II 8 Bourdon 8 Flute Harmonic 8 Dulciana Céleste II 16 Principal 8 Gemshorn 8 Gedackt 8 Geigen 8 Prinzipal 8 Gemshorn Céleste II 8 Flûte Céleste II 8 Concert Flute 8 Gedackt Pommer 8 Gamba 8 Viola de Gamba 8 Violin Diapason 8 Gambe 8 Fugara 8 Chimney Flute 8 Doppelflute 8 Fugara 8 Gambe Céleste 8 Unda Maris II 8 Harmonic Flute 8 Unda Maris II 8 Viola Céleste 8 Viol Céleste II 8 Flûte Céleste II 8 Octave 4 Principal 4 Muted Viols II 8 English Diapason 8 Oktav 4 Prestant 4 Viol Octave 4 Geigen Octave 4 Principal 4 Unda Maris II 4 Violinas II 4 Prinzipal 4 Waldflute 4 Spitz Flute 4 Flûte Traversiére 4 Open Flute 4 Viols Chorus IV Twelfth 2-2/3 Nazard 2-2/3 Twelfth 2-2/3 Flute d’Amour 4 Klein Gedeckt 4 Fifteenth 2 Super Octave 2 Octavin 2 Principal
    [Show full text]
  • 7 ((Jlmttl({J)Tuls G.G, «1L1l1ls ~
    TIBIA • VOL. 1, NO. 1 7((Jlmttl({J)tulS G.g, «1l1l1lS~ The Wurlitzer Hope-Jones Unit Orchestra in the Isis Theatre, Denver, Colorado LrnYEAii l !JL'i is notab le as th<' date when the chestra where the stress is on tone color in an endeavor silent movie entcrru its Golden Age, for in this year D . to emulate the orchestra . W. Griffith released his film "The Birth of a Nation" The contract was negotiated on January 11, 1915. which became widely acclaimed as the world's greatest The price for the instrument was fixed at $40,000. Mr. silent motion pieture. This famous twelve-reel epic Baxter provided the necessary alterations to the build­ cloornr<l the Nickelodeon, as the early movie houses ing for housing the organ which brought the total with their two-reelers were called, and established the expenditure to $50,000 for the completed instrument. '' feature picture.'' l\'Iotion pictures were nationally ac­ Th is amounted to the largest sum ever spent for an c.:epted as a prrfr rrc<l medium of rntertainment by this organ in a motion picture theatre up to that date. time, vaudeville houses were ferling the effects of the Mr. Henry B. Murtaugh, who was delighting audi­ shift, and legitimate theatres were being rented for ences on the newly-installed Wurlitzer in the Liberty these feature productions. The time was right for the rrheatre, Seattle, Washington, was consulted on the advent of the '' Movie Palace.' ' specifications, and work on the theatre started imme­ In Denver, the enterprising Samuel L.
    [Show full text]