OWNER'S MANUAL RODGERS CLASSIC SERIES 200/205
ovJNER' s MANUAL FOR RODGERS CLASSIC SERIES 200/205
RODGERS ORGAN Marketing Offices 100 Wilmot Road · Deerfield, Illinois 60015 A Member of CBS Musical Instruments, A Division of CBS, Inca CONTENTS
In traduction ...... 1
The Musical Resources of the Rodgers Classic Series 200/205 ...... 2
The Principal (or Diapason) Family. 3 The Flute Family ...... 3 The String Family and Celestes .. 4 The Reed Family ...... 5
Specification List ...... 6
Special Features...... • ...... 7
Couplers ...... 7 Combination Action. 7 Flute Chiff. 8 Tremulant .... 8 Expression Pedal .. 9 • Stops Enclosed .. 9 Tuning Control ...... 9 Stop Lamps Control .....••. 9 Organ Case ...... 10 Completely Solid-State. 10
Care and Maintenance ...... •...... •....•... 10 Console and Pedalboard ...... 11 Keyboards and Stop Tabs .. . . . 11 Pipes ...... 11
Five-Year Limited Warranty ...... ••...... ••...... ••••.... 12
Registration Suggestions. ••••••••••••••-•••••••,••••e•. .. ••••P.•• .•. 12
Manual I .. .• 13 Manual II.. . . 14 Pedal Organ. ..15
Suggested Memory Settings ...... 16
Rodgers Classic Series 200/205 Memory I ...... l7
______I~l~l.L.-us _tr.ati .o. n-.-----·-----.-.-.-.-.--.-.-.-.-.-.-.-.-.-...... 2-Q----- RODGERS CLASSIC SERIES 200/205
The RODGERS CLASSIC SERIES 200/205 combines the finest pipe organ tradition and classical tonal schemes with current electronic technology to give the organist and the listener the finest organ sound.
The design of this organ began with the development of a specific ation which allows music of all periods and schools of performance to be played as accurately to each tradition as possible.
The RODGERS CLASSIC SERIES 200/205 is manufactured to console specifications set forth by the American Guild of Organists. These specifications create a uniformity as to compass of keyboards (61 notes) and pedalboard (32 pedals), and the placement of keyboards in relation to the pedalboard. The latter requirement allows people of various sizes to comfortably play an organ. There are also specifications for the placement of drawknobs and couplers. Rodgers has always adhered to these specifications in its Classic organs to provide comfortable organs for all to play.
This two manual and pedal organ contains the following divisions: Manual I, Manual II, and the Pedal Organ. Each division has its own function in the total scheme of the organ.
MANUAL I (most like the Great Organ) has the boldest Principal (Diapason) Ensemble and a solid Flute Ensemble to support the Principals. An appropriate word for Ensemble is Chorus which generally means that two or more pitch levels (8', 4', 2', etc.) of a tonal family are sounding simultaneously. They are softer, accompanimental stops which provide a subtle texture to support the solo stops of Manual II.
-1- Rodgers Classic Series 200/205 (Continued)
MANUAL II (most like the Positive Organ) is a contrasting or "relief" manual. Its stops present a fine variation or contrast to the stops on Manual I. It is a very useful manual in contrapuntal music of the baroque period where terraced dynamics are often accomplished by changing manuals as well as by the number of stops drawn. Manual II has Principals at the 4', 2', and 1' pitches, crowned by a mixture. There is also a complete Flute Ensemble including the mutations of 2-2/3' and 1 3/5'. Celeste and Reed voices round out the specification and give the manual great tonal flexibility.
The PEDAL ORGAN is so named because its keys are played by the feet. The RODGERS CLASSIC SERIES 200/205 has a complete Pedal Organ which will provide a suitable foundation for any manual registration.
THE MUSICAL RESOURCES OF THE RODGERS CLASSIC SERIES 200/205
There are two major catagories of organ tone:
FOUNDATION: This catagory includes Principals (Diapasons), Flutes, and Strings. These voices are produced by similarly constructed pipes called flue pipes. The pipe emits sound when air enters the bottom of the pipe (toe piece), then is channeled through a thin opening, directing the air column upwards against a lip. The result is air being excited and causing vibrations to create the musical tone.
REED: Reeds are pipework whose sound is generated by a metal tongue vibrating against a metal block, with a cutout portion of the block facing the tongue. These portions are contained in the "boot" of the pipe with the resonator (uppermost tubular section) affecting the timbre (color) and pitch of the particular pipe. Such voices as the Trumpet, Trompette, Oboe, Dulzian, Krummhorn, Fagot, Bombarde, and Vox Hurnana are members of the Reed Family.
-2- Rodgers Classic Series 200/205 (Continued)
The Principal (or Diapason) Family
The Principals are the tonal family that is unique to the organ. There is no orchestral counterpart to the Principal nor can it be duplicated by any orchestral instrument. When played as a Chorus, such as the 8' Prestant, 4' Octave, and 2' Fifteenth on Manual I, the resulting sound provides body, clarity and the base to which the other tone families of the organ must relate and blend.
The Mixture is composed of compound pitches of high-pitched Principal pipes. The pitches used augment the natural harmonic overtone series. The prime function of the Mixture is to add sparkle to the foundation tone of the organ. The Roman numerals on the stop tab indicate the number of pitches sounding when a single note is depressed, e.g. Mixture III-IV (three to four pitches, depending on where one is playing on the manual). When used sparingly with suitable foundation stops and/or reeds, the Mixture provides the roof or cap of the tonal house. When used in combinations for hymn playing, Mixtures give pitch clarity to the ear which results in better congregational singing.
The Flute Family
The Flute family has a dual role in good organ design. The Flutes must support the Principals and provide another plane of tone color for solo voices.
The Flutes are unique since the mixing of unison and non-unison pitches (mutations) gives synthesized solo voices. On the RODGERS CLASSIC SERIES 200/205 you can make the Classic French Cornet on Manual II by registering the 8' Gedacktflote, 4' Nachthorn, 2-2/3' Nasat, 2' Waldflote, and l-3/5' Terz. This combination has a reed quality, particularly in the upper part of ,the keyboard.
-3- Rodgers Classic Series 200/205 (Continued)
The combination and proper balance of unison and non-unison pitches which comprise the Cornet is a standard practice of organ design dating back hundreds of years.
The 1-1/3' Quint on Manual I is useful for adding a subtle sparkle to any base combination. It is most commonly used with the 8' and 4' Gedacktflotes to give a very colorful, quaint sound useful for contrapuntal literature.
The String Family and Celestes
String-toned stops, such as Gambe, Viola, and Salicional, have a high harmonic development. This causes the sound to be thin and cutting. The String pipes are actually small scaled (reduced diameter) Principals that decrease in volume and develop brighter timbre. Because of their small scale they articulate, or speak, with difficulty. This characteristic causes them to be unsuitable for rapid passages, so often found in contrapuntal music. The Strings were not fully developed as organ stops until the 19th century. Because the design of the RODGERS CLASSIC SERIES 200/205 harkens back to the baroque era, stops from the Gemshorn family have been selected for your specification. The Gemshorn has somewhat of a String as well as a horn-like tone, although not as keen as a String. This delightfully blending sound is ideal for accompaniment and complementary to all other stops on the organ. You will find this useful stop on both Manual I and Manual II on the RODGERS CLASSIC SERIES 200/205.
The basic Gemshorn tone is augmented with a Celeste rank on your organ. The Gemshorn Celeste rank is another Gemshorn tone derived from independent pitch sources purposely tuned slightly sharp. When the two pitch sources are played together, a pleasant undulation results (like a slow tremolo). Creating a tremolo in this manner was already known in Italy in the 16th century and is found in Germany at the beginning of the 18th century.
-4- Rodgers Classic Series 200/205 (Continued)
The Reed Family
The Reed family is the most colorful of all the organ families, and is subdivided into three divisions: Chorus Reeds, Semichorus Reeds, and Solo Reeds. Chorus reeds belong primarily to the trumpet family: Posaune, Fagot, Trompette, and Clairon are in this category. Although their names suggest orchestral tones, they differ in quality considerably. They are purely organ voices and are used to add power and vigor to the Chorus.
Semichorus reeds come largely from the baroque period. Dulzian and Krurnrnhorn are typical examples. The term "semichorus" is used because these stops may function as chorus reeds or solo stops.
The Solo reeds, such as English Horn, Clarinet, or Oboe are imitative of their orchestral counterparts and are used largely as solo stops.
The chart on the following page shows the RODGERS CLASSIC SERIES 200/205 stop list.
-5- RODGERS CLASSIC SERIES 200/205
Manual I Manual II Pedal
Principals 8 I Prestant 4 I Principal 8 I Principal 4 I Octave 2 I Octave 4 I Choralbass 2 I Fifteenth 11 Sifflet Mixture IV Mixture III-IV Scharf II- III Cyrnbel I
Flutes 8 I Gedacktflote 8 I Gedacktflote 16 1 Subbass 8 I Stillgedackt 8 I Rohrgedackt 16 I Lieblich 8 I Flute Celeste II 4 I Nachthorn Gedackt 4 I Gedacktflote 2-2/3 1 Nasat 8 I Gedackt 2 I Blockflote 21 Waldflote 4 I Gedacktflote 1-1/3 I Quint 1-3/5 1 Terz 2 I Blockflote
Gems horn (Strings) 8 I Gems horn 8 I Gems horn 8 I Gem shorn Celeste 1 Reeds 16 Dulzian 16 I Fagot 16 I Posaune 8 I Krummhorn 8 I Trornpette 4 I Clairon
Couplers Manual II to Manual I Manual I to Pedal
Special Controls
• Stops Enclosed Tremulant
-6- SPECIAL FEATURES
There are two couplers on the RODGERS CLASSIC SERIES 200/205: MANUAL II TO MANUAL I and MANUAL I TO PEDAL.
The function of a coupler is to enable the stops of one division or keyboard to be played on another keyboard or pedalboard.
The MANUAL II TO MANUAL I coupler allows all the Manual II voices to be played from the Manual I keyboard. The MANUAL I TO PEDAL coupler will make the voices of this keyboard sound when a pedal is depressed.
As can be seen, the coupler greatly increases the flexibility of the instrument.
If both hands are busy and you desire to add MANUAL I ~0 PEDAL, pushing the toe stud with your foot will do this. Pushing the toe stud again or pushing the drawknob in will take MANUAL I TO PKCAL off.
Combination Action
One of the exciting features of the RODGERS CLASSIC SERIES 200/205 is a combination action that is adjustable from the console. This enables the organist to select favorite registrations and to make rapid changes of tone color.
DUAL MEMORY COMBINATION ACTION
The RODGERS CLASSIC SERIES 200/205 combination action is a unique DUAL MEMORY SYSTEM. This gives the organist a total of sixteen General pistons for the Manual I, Manual II, and Pedal Divisions.
-7- Rodgers Classic Series 200/205 (Continued)
There is a combination lock for each Memory (1 and 2) with different keys for each lock, giving protection to the individual keyholders. With the keylock in the "Off" position, or with the keys removed, the combination action will function but cannot be set with new combinations.
NOTE: If both keys are in the "On" position, the combination action will not program any new combinations. Also, when one key is in the "On" position it is impossible to switch to the other Memory.
How to set the Pistons:
1. Select the Memory (1 or 2) to receive the registrations. 2. Turn on the keylock for the selected Memory. (You will note that the lighted piston will indicate which keylock has been turned on.) 3. Select your registration. · 4. Push the Set piston and hold. 5. While pushing the Set piston, push the desired piston, then release both pistons simultaneously.
Flute Chiff
CHIFF is a natural speech characteristic of classically voiced Flutes. It gives additional clarity to both pitch and attack; therefore, it is an integral part of the electronic voices.
Tremulant
Regarded as a special effect, the TREMULANT can be most useful when judiciously used. The Tremulant on the RODGERS CLASSIC SERIES 200/205 affects all of the electronic voices only.
-8- Rodgers Classic Series 200/205 (Continued)
Expression Pedal
The RODGERS CLASSIC SERIES 200/205 has an Expression Pedal which controls the overall volume or loudness of the electronic voices of the organ. It is used to give variety of expression to the music played. Pressing the pedal forward increases the volume. Drawing back on the pedal decreases the volume. Please note that this pedal will not function unless the " • Stops Enclosed" drawknob is pulled. Early organs did not have swell boxes so a change in dynamics was accomplished by adding or subtracting stops or changing manuals. You have your choice of playing the RODGERS CLASSIC SERIES 200/205 with or without expression.
• Stops Enclosed
Pulling this drawknob causes the electronic voices (indicated by a • on the drawknob) to be under expression, which is controlled by the Expression Pedal.
Tuning Control
One of the beauties of a pipe organ is its ability to be tuned properly. As you know, flue pipes change their tuning depending on the temperature and density of the air in the room in which the organ is located. Because our electronic circuits are so stable it may be necessary to tune the electronics to the pipes. This is very easily done by moving the Tuning Control until the beats (or out-of-tuneness) stop. If the control knob is pulled out, the electronic portion of the organ immediately returns to A440 (concert pitch).
Stop Lamps Control
The intensity of the stop lamps can be governed by this knob. Turn
the knob clockwise for brighter and counter~clockwise for dimmer
-9- Rodgers Classic Series 200/205 (Continued)
lights.
Organ Case
While the wood case surrounding the pipes is very beautiful, it has other value too. It serves functionally to protect the pipes and wind chest, and musically to blend the sound, to lend its own resonance to the organ, and to project the sound of the organ to the listener. The use of an organ case for these purposes dates back to before the 15th century.
Completely Solid-State
Each note of every set of electronic voices in the Rodgers organ is produced separately by an individual, solid-state voice generat ing network. This independence of voices is largely responsible for the wide acceptance of Rodgers' tone quality. In addition, stop switching, coupling, and keying are all accomplished through the use of solid-state switches which eliminate hundreds of contacts and moving parts.
The amplifiers for the Rodgers speakers are located in the console and there is no warm-up time required for them.
CARE AND MAINTENANCE OF THE RODGERS CLASSIC SERIES 200/205
As with any fine musical instrument, reasonable care is necessary to protect your investment in your Rodgers organ. Normally, you should experience no difficulties, because it has been carefully designed, and only the finest component parts are used in its manufacture. Even the finest equipment, however, is subject to occasional service. Your Rodgers Service Representative is fully equipped and qualified to handle any service problems which may arise.
-10- Rodgers Classic Series 200/205 (Continued)
Your new Rodgers organ is not only a fine musical instrument, but also a fine piece of custom made furniture, finished to hold its attractiveness through generations of use. Only the best woods are used, carefully checked for uniformity of grain and intensity of figure and carefully hand assembled. As each finish coat is applied, it is thoroughly dried and hand rubbed before the next coat is applied. This hand rubbing results in a finish that is lasting and easy to keep beautiful. Following are a few tips on caring for your Rodgers organ.
Console and Pedalboard
A frequent dusting with a soft, clean cloth is usually all that is required. For a lacquered finish, a small amount of Guardsman's Polish on the cloth will keep the organ smudge-free and help remove fingerprints. Waxes, oils, or silicone base polishes should not be used. Always wipe the surfaces WITH THE GRAIN, using straight, even strokes.
Keyboards and Drawknobs
Keyboards and drawknobs should be cleaned with a soft cloth dampened with water and mild soap if desirable. Care should be exercised to avoid water dripping between the keys. DO NOT USE SOLVENTS (alcohol, gasoline, carbon tetrachloride, etc.).
Since extreme cold, heat, or exposure to sunlight may injure the finish of any fine piece of furniture, the console should not be placed over a heat register or near an open window.
Pipes
To keep the pipes of your Rodgers organ beautiful, refrain from touching them with ungloved hands.
-11- Rodgers Classic Series 200/205 (Continued)
RODGERS FIVE-YEAR LIMITED WARRANTY
The Rodgers Organ Company warrants every part of your Rodgers console against ~efective materials or workmanship for a peri6d of five years beginning on the date of purchase. IT IS IMPORTANT THAT YOU COMPLETE THE WARRANTY REGISTRATION CARD ATTACHED TO THIS MANUAL AND RETURN IT TO US TO VALIDATE YOUR WARRANTY.
Rodgers' Limited Warranty provides any needed replacement parts during its five~year term. Labor, in connection with the replace ment of parts, . is not covered by the factory warranty. Contact your authorized Rodgers dealer for details of his labor warranty.
Complete factory warranty terms are spelled out in the Rodgers
Limited Warranty c~rtificate available at your Rodgers dealer or mailed to you upon receipt of your Warranty Registration Card.
REGISTRATION SUGGESTIONS
The following pages of registrations are guidelines ~or selecting appropriate stops to match broad suggestions given in most printed organ literature. There will be variances of registration, depend ing upon the music, acoustics of the room, and the spirit of the performance.
-12 ~ Manual I Registration Suggestions RODGERS CLASSIC SERIES 200/205
Given Suggestions Appropriate Registration
Flute 8 I Gedacktflote
Strings 8 I Gemshorn
Reed (Solo) 8 I Krummhorn
Reeds (Chorus) 8 I Krummhorn 16 I Dulzian
Foundations p 8 I Stillgedackt 8 I Gems horn
Foundations mf 8 I Gedacktflote 8 I Gems horn 4 I Gedacktflote
Foundations f . 8 I Prestant 8 I Gedacktflote 4 I Octave 41 Gedacktflote
Foundations ff 8 I Prestant 81 Gedacktflote 4 I Octave 4 I Gedacktflote 21 Fifteenth
Full Great 8 I Prestant 8 I Gedacktflote 4 I Octave 4 I Gedacktflote 2 I Fifteenth 21 Blockflote Mixture III-IV
-13- Manual II Registration Suggestions RODGERS CLASSIC SERIES 200/205
Given Suggestions Appropriate Registration
Flutes 8 I Gedacktflote 4 I Nachthorn
Strings 8 I Gems horn 8 I Gemshorn Celeste
Reed (Solo) 8 I Trompette Reeds (Chorus) 16 1 Fagot 8 I Trompette Foundations p 81 Gem shorn 8 I Rohrgedackt
Foundations mf 8 I Gems horn 8 I Rohrgedackt 4 I Nachthorn
Foundations f 8 I Gedacktflote 8 I Gems horn 4 I Principal 4 I Nachthorn 2 I Waldflote Full Positive 81 Gedacktflote 4 I Principal 41 Nachthorn . 2 I Octave 2 I Waldflote 11 Sifflet 8 I Trompette
-14- Pedal Organ Registration Suggestions RODGERS CLASSIC SERIES 200/205
Given Suggestions Appropriate Registration
Flutes 16 1 Subbass 81 Gedackt
Pedal Principals 16 I Subbass 81 Principal Foundations p 16 1 Lieblich Gedackt
Foundations mf 16 I Subbass 8 I Principal 81 Gedackt 4 I Choralbass Full Pedal 16 1 Subbass 81 Principal 81 Gedackt 4 I Choralbass 21 Blockflote Mixture IV 16 I Posaune
-15- Rodgers Classic Series 200/205 (Continued)
SUGGESTED MEMORY SETTINGS
On the following pages are complete, suggested piston settings for the RODGERS CLASSIC SERIES 200/205. These are arranged in ascending order from soft combinations (Generals 1 and 2) to larger ensemble combinations of increasing strength. These are only suggestions as to a system of setting pistons that follow the basic music crescendo.
-16- RODGERS CLASSIC SERIES 200/205 Memory I
Generals
Piston 1 Pedal: 16 I Lieblich Gedackt 8 I Gedackt
Manual II: 8 I Gem shorn 8 I Gensho:tn Celeste General: • Stops Enclosed Manual I: 81 Flute Celeste II
Piston 2 Pedal: 16 1 Lieblich Gedackt 8 .1 Gedackt Manual· II: 8 1 Gemshorn 8 1 Gemshorn Celeste 4 1 Nachthorn General: • Stops Enclosed Manual I to Pedal Manual II to Manual I Manual I: 8 1 Flute Celeste II 8 1 Gemshorn
Piston 3 Pedal: 16 1 Lieblich Gedackt 8 1 Gedackt 4 1 Gedacktflote 16 1 Subbass Manu.:tl -II: 8' Gemshorn 8 1 Gemshorn Celeste 4' Nachthorn 8' Rohrgedackt General: • Stops Enclosed Manual I: 8 1 Gedacktflote 8 1 Flute · Celeste II 8 1 Stillgedackt 8' Gemshorn
Piston 4 Pedal: 16' Lieblich Gedackt 8 1 Gedackt 4 1 Gedacktflote 16 1 Subbas·s 8' . Principal 4' Choralbass
Manual II: 8 I Gems horn 8 I Gemshorn Celeste 8' Gedacktflote 4' Nachthorn 8 I Rohrgedackt
-17- Piston 4 (Con't.)
General: Manual I to Pedal Manual I: 8' Gedacktflote 8' Flute Celeste II 8' Stillgedackt 4' Gedacktflote 8' Gemshorn
Piston 5 Pedal: 16' Lieblich Gedackt 8' Gedackt 4' Gedacktflote 16' Subbass 8' Principal 4' Choralbass Manual II: 8' Gemshorn 8' Gemshorn Celeste 8' Gedacktflote 4' Nachthorn 2' Waldflote General: Manual I to Pedal Manual I: 8' Gedacktflote 8' Flute Celeste II 2' Blockflote 8' Stillgedackt 4' Gedacktflote 8' Prestant 8' Gemshorn 4' Octave
Piston 6 Pedal: 16' Lieblich Gedackt 8' Gedackt 4' Gedacktflote 16' Subbass 8' Principal 4' Choralbass Manual II: 8' Gemshorn 4' Principal 8' Gedacktflote 4' Nachthorn 2' Waldflote 8' Rohrgedackt General: Manual I to Pedal Manual I: 8' Gedacktflote · 2' Blockflote 8' Stillgedackt 4' Gedacktflote 8' Prestant 8' Gemshorn 4' Octave 2' Fifteenth -18- Piston 7 Pedal: 16 1 Lieblich Gedackt 8 I Gedackt 4 I Gedacktflote 16 I Subbass 8 I Principal 4 I Choralbass Mixture IV
Manual II: 8 I Gems horn 4 I Principal 2 I Octave Scharf II-III 8 I Gedacktflote 41 Nachthorn 2 I Waldflote 8 I Rohrgedackt
General: Manual I to Pedal Manual II to Manual I
Piston 8 Pedal: 16 I Lieblich Gedackt 8 I Gedackt 41 Gedacktflote 2 I Blockflote 4 I Clairon 16 1 Subbass 8 I Principal 4 I Choralbass Mixture IV 16 1 Posaune
Manual II: 8 I Gem shorn 4 I Principal 2 I Octave 11 Sifflet 81 Gedacktflote 4 I Nachthorn 16 I Fagot 81 Rohrgedackt 8 I Trompette General: Manual I to Pedal Manual II to Manual I Manual I: 81 Gedacktflote 2 I Blockflote 8 I Stillgedackt 4 I Gedacktflote Cymbel I 8 I Prestant 8 I Gemshorn 4 I Octave 2 I Fifteenth Mixture III-IV
-19- I-- ,--, - .---- -.= ~ f- - f-. r-- - ' ,-- r- f-r- .--,_ 1-.-- n;;:L [ rf- r-;L ,.Ji=I=;L r- ~I= D. ffi I= i=l= I= rm .LI COUPLERS i MANUAL I . i I 1 \ \1 ~m 1 ll~il :' . I 'i "Ill 1- 1--· ~ 11 Al " - ·--- - 17\ - lt-- 1"(\ - I---• STOPS OSEO ON/OFF ------'!'\ /:::.,,_ ~~ {J~t[J ~~ lA it\! 1:::. <0<1()<()<1()>1() ~~~ - ~- ~ I=~ -TREI'v MANUAL II bf= EXPRESSION PEDAL WORI HEN •STOPS ENCLOSED IS ON J SET PISTON PISTONS FOR COMBINATION ACTION -20-