GULBRANSEN E User manual

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Introduction... 1 Non-Speaking Stops...6
The Timbre Controls
Th. Boloncer Conhols
General Informetion... 2
Elcctricol
Doto
Kcyboords
ond Control3 Percuisionond Rcverberotion
Chimesond the
Chimcs Pre-SetPiston
Stop Tablets. ..4
Generol Intormotion
Using thc Sp€oking Stop!
The Care of Your
Non-Speaking Stops... 5Gulbransen Organ...10
Gontents
Genlrol Informotion
Th. Trcholo
Pedol Sustoin
Omaga...7
Registration. ..8
Accegsories. ..11

Introduction
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In 1957 Gulbrans€n Company introduced the world's
first transisto. organ. This instnment included per-
cussion,reverberation,and an adaptation of th€ I€s
lie Tremolo System-Thes€ featureswere all s€lf-@n-
tained in the organ onsole and were standard equip
ment-a new oncept in electrcnic orga design
which was to rcvolutionize the entire electronic orsan
Your new Model E Gulbransen Or8an has ben
manufactured followins the same basic concepts that
are a product ol the Culbrds€n Rese€rchl,aborator-
i€s.Only the finest marerialsare usedin kepins with
th€ Gulbransen tradition of bringing you quality key-
board instruments.
The purpose of this manual is to acquaint you with
ihis new orsan, to pmvide the basic inlormation you
wilt need in th€ op€mtion of its contrcls, and to sup-
ply instructioN p€rtinent to the small amount of spe-
cial careit will r€quire.
We sincerely urse that you read the nanual all th€
way through before starting l,o play. You will want
to read variou8 sectionsasain as your playinS pro-
ficiency increases. The tim€ you spend readins a.d
re-readins it will be richly .ewarded in added pleas-
ure and enjoynent of the new Model E GulbEns€n
Transistor Organ.
A smple resistration she€t is included in ne md-
ual. This contains suSg€Ledslop settings for various
types of mu8ic. Instruclion books and materials ar€
also supplied in the O"ners Nit which you received
with the o.san. We sussest that you read the gene.al
information €ontained which will further explaiD the
operation of the orgm.

General fnformation
Electrical Data
The orsan op€rates on A.C. (aliematins erlar/
only. Never plug the organ into a D.C. (&rect anr-
rent) outlet. The standard home powersupply of 60
cycle 117voltr is the co.rect powersuppty. The rran-
6iator ione g€nerating syltem h very elficlent and
rcqui.es very little power.Any ordinary hom€power
outlet is qu;l€ suffic;enr
ard no sp€cial
wirins ig
requi.ed Eince
a uorimam of only 0 watts ot power
The OFF/ON switch is tocat€d to the risht of the
lower k€yboard and ha! a pilot lighr indicating wh€n
the Bwitch is "on',. The orgen is reedy to play in
about ten !€condsafter the swihh is tumed ..on".
Keyboards and Controls
SWELI.
MANUAT
This is alsoknown
astheupp€r
keyboard
or ..Soto,,
manual.
cenerally it is playedwith the ght hand,
but many times it is played with both hands or ju€t
the left hand alone.
GREAT
}iIANUAI.
This is also known asth€ lower keyboard or ,.Accom-
paniment" manual-Althoush thelefr hed is senerally
usedon thb manual, thelo a!6 hary occ!8ions whet
both handsare usedor just the risht hand alone.
PEDAT
KEYBOARD
Th€ pedal keyboad, or pedal clavier, is usuatty ptay-
edwith the left foot whenplaying poputar music. Fo.
classicaland chu.ch work it is necessaryto use borh
f€et.
EXPRESSION
CONTROT
This control is operated with the risht foot and e-
able3 th€ organist io inst€ntly adju€t the volume or
loudne€€
oI the orsan to any desired lev€t. A rather
continual or frequent chang€in volum€ is the pracric€
ot mostplayers
io shade"or "color" the musjcac-
cording to the requirements of the s€lection beins
played.

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Pedal
Stops
and
SwellSto
ps
Stop Tablets
General lnformation
Orisinally, the word "!top" in pip€ orsan lanslage
rel€rl€d to the control which "stopp€d" the wind to a
specific group or Iank of pipe€.The stop rrttrked 1a
q,ould contrcl a mn! of pipes th€ laig€€t of which
would b€ 16 in lensth The 8' stop r€fetrledto a ranlr
in which the lsrg€st pip€ would b€ 8' in tenstlt.
B€cau!€ thesefootagerna*in8B havebeenthe orgsn-
ists unit of pipe measurethroushout the yea.s,
Gulbraru€n has rnaintain€d the s]€t€m.
A color codeis Eaintained on the stop ttblets {or
both the SweUManurl and the Gr€at Manual: sr€€n
engravins for individual speking voic$, black en-
graving Ior cohbination tablets. For example, the
Diapason ld on the Swell Manual i! a conbination
of the Bourdon 16', fibia g and Tibia 4'.
lte black tebleb Eudre! lYemolq Ttnbre, and Eo
torth, are call€d 'tlon-3peaking" Etop8whid by theh-
selv€6create no tone but affect the sperking stoF.
Thele are exprainedin detail in the section mverinS
non.8pe3kins Etops.
Using the Speaking Stops
There ale no set rul€€ regarding the .eSistration of
the or8an.This is a matt€r of tasteand dep€nds
upon
the o.ganist and the s€l€ction beins plaved. The
sinSleexc€ption to this is that you should nev€r us€
the f.actional atDps,13/6',22ht, 5y3', by thems€lve!.
They ehould be us€d in coniunction with the even
foot€d6topsto changethe tone color or to add "spice"
to the r€sistration being u!€d.
Usually, the melody is played on the Swell Manual
and a complim€nting accompaniment is played or
the Grert Manual. The p€dal ltops shouldbesel€ct€d
so ss to blerd with Orc rnanud resistlation to add
rhythd or a "beat." At leslt one sp€akingstop must
be "on' for ead of the manuals to create a tone.
We urse you to exp€riment with th€ stop tablets
to tsmiliarire youEelf with your new Gulbranm
Orsen and to find rcgilkation€ that are pl€aaing to
your ear.We haveinclud€d a few samplercgistrations
in this manual to assistyou in addition to the music
book! includ€d i! the Owner8Kit.

Tremolo
&
Timbre
Stops
and
Great
Sto
ps
Non-Speaking Stops
GeneralInformation
The blqck tablets on your Model E cutbrans€n
Orsan arc referred to 6s non-epolirg ts ets whiclr
by thernselve€
createno tone.The!€ tabletgaffect the
spe,sLhs voices ol the orsan by adding brilliance,
tr€rDolo,
volume, snd !o fortll
PedalSustain
T\e Pedal Sustain is pmvided lor the purpo€€ of
prolonsins the tiEre a p€dal note sound! att€r the
pedalk€y is rclea!€d.When &lep"dd, Susrarn
ia ..on"
tle effect of tle pluck€d srlinged bassis achieved.
The sustain€dbassis fr€quently delirable fo. slower
type€of rdusic because
it maintains continuity whil€
tie foot i6 lboved ftom olre pedrl key to anotner.
When the PedalSurrdrnis ',off" the effecti! sihilar
to the basshorn or tuba. This s€tting is well luit€d
Ior laster b?es of music or {,hen a .,bert" is desir€d.
The Tremolo
'nre Trenola is the "wavering" effect qihich is fr+.
quently heard in the violin and other stringed instru-
ment!. In the Gutbmnaen o.gan ir is the result of
the "acoustical heatment,' appljed by th€ builtin
tun speedlasliz Trenolo Systcn actins in mnjunc-
tion with a top 8€de audio amplifier, a high quality
loudsp€aker
and a scientifically dedsnedloudsp€aker
mclosure,
The Trenolo iart s€ttins is senemtly u!€d when
playins popular music an4 at time€, for censrn
hymns and classicalwork!.
T'he Trcnola Srou s€ttins ia most useful wh€n pt6y-
ing litugical nuhbers. C€rtain perculsion effectsar€
enhanc€d
by using this settins and we urge that you
exp€rimentwith the Tremolo. Its u!€ is directed onlv
by your pellonal taste.
Most orgarl! achieve rremolo end vibrato effects by
rapid distortion of pitch; that is by varying the pit h
slishtly sharp 6nd llat to g€t a $averins sound.The
Gulbransenorgan tu uique in that jt rnaintains true
pitch at all times.

Non-Speaking Stops
The Timbre Controls
Two tablets,deiisnated asTinbrc Mellou andTinbre
B.,?ilt, contrcl the voiceof the organand ils distinc-
tive characterof tone. With only tI& Tinbre Mellou
being us€d with the reSist.ation, the los,€r tones of
the orsan are hishlisht€d. UsinS only the ti,n&re
.B.ignt will accentuaieth€ hishe. tone! of the orsan.
Obviously, by usins both of theae
tablets at lne same
time you nill incre3r€ tlle totrl volume of t}le o!8an.
There are no s€t rules r€gardins the us€ of rhe
Timbre Controls;it is a matte. of personal
tas!€,r@m
lcoultics, and the like. Frequently, the percuEsion
€ffects are enhanc€dby lds]di|s
tte Timbre Bright.
h lhe $ction dprlin8 with rpgiltration there are
example! ol how to utilize the Timbre Cont_rol!to
th€ir b€st advantage.
The Balancer Controls
The SweLlfl tsblet located with the Swell Manual
stop€ and the Grcot nf nd Creat ff t^bleta locltxd
with the Gr€at Mmual stop€sovem the comparativ€
volun€ of the two keyboards. When both ll tablets
a.€ depre€sedthe manuals play at full voluDe.
With the aid ol the Bak'Ecer Control tablets it ig
easy to properly balance the volume of one manual
8el€ct€d for the Delody asaiNt the volume of the
manual lelected !o play th6 accompaniment. This
enormouslyincleras€sthe llexibility and versatility of
the orsan in that th€ stops may be select€d on the
basisof their tonal color rathd than on the basisof
Fo. example,should you de€ireonly tr{o soft stops
on the Ss/ell Manual for the melody and wish to have
tbr€e or four stops in use for the acc.mpaniment,
melely depr*s the SwelLll tablet and refrain lrom
u3ins the other Balancer Controls. This armngement
will allow the Swell Manual to dominate.

0megaPistons
Omega
Percussion and Reverberation
Oneea, tIrc lalt letter of the Cr€ek alphabet, is the
namewe haveapplied to the lars€ farnily of reverber-
ation and pe.cussion effects available or the
Gulbrans€n Organ. lbe Omega i! controlled by a
s€ri€sof six pistons lo€ted in th€ cent€rof the orsan
b€tw€€n the nanual k€yboards.
The perqEsion s€ction of a band or orche€uam,
cludes instruments on f,,hich the tone is creried by
pluckins or strikinr. Many of the voicesof th€s€in-
struments may be Eimulat€d on your culbrans€n
Orgsn including piano, chimee, barp, music box,
marimba, orchelha b€lls, just to name a few.
The Omedaeffectsapply only to the SweI Manual
keyboad. Fo. prcper r€€ults you should us€a quick
or staccato touch to obtain the p€rcussion effect!.
Someol th€€e
effectsar€delcribed in the musicbooks
you received with your or8an_
The fiBt piston on the lelt hand side de&ribed as
OneEa Oft on the d€cal Eetdirectly aboveit ha! the
effect ot cancellins the other piston effects which
misht b€on.
The second snd third pistons fmm the lelt a-te
neDerberation Shott adndReuerberutitn Lone. P'eyeb
bemtion is sn acoulticrl effect which pernits rhe
achievement of cathedml-like tonal quality even m
the limit€d acousticsof the $nalle€t living .oom. It is
invaluable in playing chuch orsan mulic or theatre
orSanmusic.
The fouth and fifth pistor|! Imh the left, PercB-
sfr4 8lor, and PercussionLone, govem the tonal
decay charact?ristics. Since the various percussion
instrum€ntsllave diff€rent degr€erof decaytime, it is
necessary to have thes€ sp€cific *ttinSE lor their
Chimesand the Chimes
PresetPiston
Encompassingthe Sq,ell Manual, m€llow electronic
chim€€are availableat instant finger tip control witl
the ChimesPr6et Pistou. This pilton autonati€ally
canc€b all Swell Manual stops and dunges the
Timbre Control to "brisht". If the Ttemolo i! "on-
fa!t" the piston will set the Tlemolo at the .,on-
To cancelthe Ciirnes all that j! nec€lsafy is to de-
pre€sany other piston and the previously ananS€d
Sw€ll Manual stops are once again irun€diately
in effect.
Danped Chimes (Chimes with short alecsy/ 'g E
obtained simply by depr€sing the Chime€ Piston
and any otbe! piaton except Percu€sionIrng. Ih€
r$ultins decay characteriltics will be determin€d by
the eitra piston depre$ed.

Registration
Organ registration is merely the selectionol various
voices oi an organ to produce a desired efect or
sound. Resjstration js equally as imporranl as now
wellyou play;careful
selection
of stopilblefs
will
add a professional"touch" evenwhile you arc rearn-
ing to play.
Therc areno set rules resarding registratjon; it is a
metter of peEonal tasi,e.We urge that you experjment
ltith the sfop iablets to find combinations which are
pleasing to you. To assist you, lve have inctuded A
few6uggestedrcgigtrationE
in thi6rectionandcallto
yourattention
thcmusicbooks
yourcccivcdwith
your
orsan.These
arejusi a icw combinations
wesusgest
whileyou aregeidns
acquaintedwith your ModelIi
Gulbransen
TmnsistorOrgan.