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  9. Johannus SWEELINCK 20 User manual

Johannus SWEELINCK 20 User manual

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OWNERS MANUAL
SWEELINCK
2
JOHANNUS ORGELBOUW
3
TECHNICAL SPECIFICATIONS SWEELINCK 20....... .
4
CONSOLE SWEELINCK 20
5
EXPLANATION FIGURES
6
INTRODUCTION
7
MUSIC RACK..... .
7
ROLLCOVER
7
PEDALBOARD
7
MAINS VOLTAGE
8
MAINS SWITCH......... .
8
STOPS
8
STOP LAMPS... .
8
GENERAL VOLUME..
...................8
EXPRESSION PEDALS
9
COUPLERS
9
MANUAL BASS....... .
9
CANTUS FIRMUS...... .
9
TREMULANTS 10
PITCH................ 10
TRANSPOSER ..............10
CHORUS 10
TUNINGS
11
INTONATION
2.. . 11
CATHEDRAL
11
PRESETS..... .
12
CAPTURE
12
CANCEL ACCESSORIES ..
..13
GENERAL CRESCENDO
.14
TOE PISTONS (OPTION)
..15
HEADPHONES
15
EXTERNAL CONNECTIONS (REARSIDE ORGAN) ..
.16
MIDI
17
MAINTENANCE
17
REGISTRATION EXAMPLES SWEELINCK 20........... ...
18
OWN REGISTRATIONS SWEELINCK 20
.19
MIDI IMPLEMENTATION CHART SWEELINCK 20 20
PERSONAL NOTES 21
jOHANNUS ORGELBOUW can boast a broad experiencein building electronic classical organs.
They started building classical church organs from a workshop. It was on March 4, 1971 when the first
organ was delivered.
A short time after, study organs were added to the assortment.
There was a great demand for this jOHANNUS organ, as it enabled more and more organ players to
study classical and liturgical music, since not everyone had the possibility to play on a church organ
frequently.
Because of the fast increase in production, the workshop soon was small. Therefore they had to move to
a largerpremisses in Veenendaal in 1972. This is where the study organs type S, HII and HIlI, and the
church organs type KII, KIIB, KIIC and KIIIC weredeveloped.
By 1976 though also this factory wasn't largeenough anymore and jOHANNUS ORGELBOUW decided
to build its own factory and the wish of the artistic as well as the production staff could be fulfilled.
A complete auditorium was, according to modem requirements multi functional, equipped in the factory
building: Besides using it as a concert hall, the auditorium can be used for demonstration and pre-
intonation of church organs as well.
The new building in Ede was opened on March 12, 1976 by the world famous organist FElKE ASMA.
In recognition of his valuable advises and guidance which helped to create the characteristicjOHANNUS
sound, the auditorium was named "FElKE AS.MA ZAAL".
To mark the occasion of the opening of its new buildings, jOHANNUS ORGELBOUW introduced the
successful OPUS-seriesfor study- as well as church organs.
jOHANNUS ORGELBOUW has, since the early beginnings, always been precursor in the field of
developing electronic classical organs.
That's why, early in 1982, a totally renewed organ-series, the 200-series, was released, using the newest
chip-technology.
As a result of the experiences gained with these new technologies, again these series got renewed and
more perfectioned in 1986. This seriesbecame to be the last generation of analogue organs.
Early in 1988 the age of the digital technologies was ushered in with the revolutionary OPUS-IOOOseries.
This changeoverfrom analogue to digital technologies, comparable with the changeover from the ancient
pick-up to the compact disk player, has offered jOHANNUS ORGELBOUW the possibility to develop its
unique, individual and meanwhile worldwidepraised jOHANNUS"-sound more and more.
As a result of the fast development of all computer-technologies, jOHANNUS ORGELBOuw, has, using
these advanced technologies, designed a new organ-series:THE SWEELINCK series.
Using the possibilities of these modem technologies and the flexibility of the company, jOHANNUS
ORGELBOUW is not only able to build standard instruments, but also custom-designed organs.
To this day, we, the employees of jOHANNUS ORGELBOuw, are building "small" and "large"organs
with joy and devotion. Careful attention to tonal quality and craftsmanship has become the hallmark of
Johannus. Now the company enjoys worldwide recognition and credibility as a builder of classical organs
to suite the individual organist, churches, concert halls and many other prestigious location where
classical organs are situated.
Pedal
Great
Swell
Romantic +baroque
Ughted Rocker tabs
Overall rotary stoplight intensity control
2x5 octaves (C-d ') synthetic
2x5 octaves
(Cod"')
wood with toggle touch
30-note straight (C-t)
30-note concave (C-t)
32-note radial concave (C-g')
32-note AGO (C-g')
Manual couplers
Pedal couplers
Manual bass
Cantus firmus
Independent
Total 600 Watt (maximum)
Overall rotary volume control
Programs
+ / - v. note overall rotary control
6 steps (+ /- 3 half notes)
Equal
Mean tone
Werckmeister III
Slight detuning between voices
PP-P-MF-F-FF-T
RO (reeds off)
o
(cancel)
CA (cancel accessories)
64
(a
x
a)
programmable combinations (generals)
192 (3 x
a
x
a)
programmable combinations (separate)
Capture
Reversible Couplers
Tutti
20 steps
Midi controlled
Great+Pedal midi controlled
Swell midi controlled
Midi In-Thru-Out
Headphones Stereo up to 2kn
Aux In 1kn/70mV
Reverb Out 4700/300mV
External loudspeakers
ao
each channel
Dark or light oak
Wooden rollcover (with lock)
Wooden expression pedals
Ughted pedal board
Bench with musicspare
Bench with adjustable height
Height (without music rack)
Height (with music rack)
Width
Depth (without pedalboard)
Depth (with 3D-note straight pedal board)
Console (without pedalboard, without bench)
Tremulants
Amplifiers/channels (100 Watt /ao each)
Pitch
Transposer
General Crescendo (programmable)
General volume
12
16
19
2
•
•
•
option
•
option
option
option
1
2
•
•
2
6
•
6
•
•
•
•
•
•
•
•
•
•
•
option
option
option
option
•
•
•
•
•
•
•
•
option
•
•
•
•
•
option
117cm 3'10
139cm 4' 7
134cm 4' 5
63cm 2' 1
92cm 3' 1
1.
ROLL COVER
2. STOPS PEDAL
3. MUSIC RACK
4.
ROLL COVER LOCK
5. STOPS GREAT
6. KEYBOARD SWELL
7. KEYBOARD GREAT
8. STOPS SWELL
9. DISPLAY CAPTURE MEMORY AND GENERAL CRESCENDO STEP
10. MAINS SWITCH
11. GENERAL VOLUME CONTROL
12. TRANSPOSER
13. PISTONS GENERAL CRESCENDO
14.
+/-
PISTONS CAPTURE AND GENERAL CRESCENDO
15. CANCEL ACCESSORIES
16. ACCESSORIES (MANUAL BASS / CANTUS FIRMUS)
17. ACCESSORIES (WERCKMEISTER III / MEAN TONE)
18. PRESET-, CANCEL-, REEDS OFF PISTONS
19. GENERAL CRESCENDO PEDAL
20. EXPRESSION PEDAL SWELL
21. EXPRESSION PEDAL GREAT+PEDAL
22. PEDALBOARD
23. PISTONS CAPTURE MEMORIES
24. SERIAL NUMBER PLATE
25. SET PISTON CAPTURE AND GENERAL CRESCENDO
26. CONTROL STOP LAMP INTENSITY
27. STEREO HEADPHONES OUTPUT
28. PITCH CONTROL
29. VOLUME CONTROL CATHEDRAL
30. PROGRAM SWITCH CATHEDRAL
31. MEMORY LOCK
32. ACCESSORIES (MIDI/CHORUS / INTONATION-CHOICE)
33. ACCESSORIES (COUPLERS / TREMULANTS)
You are now the proud owner of a JOHANNUS SWEELINCK 20 organ, an instrument with a well
chosen and balanced selection of stops which allow the player the opportunity to perform the full
repertoire of classical and liturgical organ music. This manual will assist you to make you of the many
possibilities offered by this JOHANNUS SWEELINCK 20 organ.
The different control functions will be explained step by step.
The encircled figures in the text (e.g. @) are always referringto the encircledfigures in the illustration of
the console on page 5.
Some registration examples aregiven on page 18.
Page
19
can be used to incorporate your own favorite and/or often used registrations. The last page of
this owners manual is reservedfor own notes and remarks.
Please spend a few minutes reading this important information and experience the wonderful potential of
your new organ. We wish you lots of pride in your organfor many years
The music rack ®comes separately with the organ. The music rack support, with a slit for placing the
music rack, is mounted on the top panel of the organ. The music rack can easily be feed through this
slit.
The rollcover
CD
can be locked. The rollcover lock
CD
is placed behind the music rack. The organ can be
locked easily by shifting the rollcover to yourselves and depressing the rollcover lock. The rollcover is now
locked. The rollcover can be unlocked by inserting the key and turning it a quarter of a turn anti
clockwise.
ATTENTION:
It
is also possible to lock the rollcover lock without using the key. Therefore, always take
care that the key never is kept within the lockable part of the console.
The pedalboard
@
of the organ is equipped with magnets which are activating reed switches. The reed
switches are (invisible) mounted behind the black painted front panel against which the pedalboard has
to be shifted. A magnet is mounted into the front end of each pedal key. As each pedal note is played,
the reed switches are activated by the magnets.
It is important to ensure that the pedalboard is correctlysituated in relation to the reed switches.
For a properly work. Therefore, the pedalboard must be shoved against the black painted front panel as
far as possible. It can be necessary to tilt the organ a little bit backwards in order to shift the pedalboard
correctlyagainst the black painted front panel. Besides it is important to place the organ on a flat floor.
It is important to check the mains voltage of the AC outlet with the voltage setting of the organ. This is
printed od the serial numberplate
@,
which is located on the left side beneath the manuals.
The mains switch
@
is located on the right side of the keyboards. The red pilot lamp inside the mains
switch will light up as soon as the organ is switched on. As, after switching the organ on, the electronic
circuits need some time to tune, it takes a few seconds before all controls are working.
At the same time the display ®will reflect the digit 1. The function of this display will be described
further on in the owners manual, when explaining the capture system and the general crescendo.
Your organ is equipped with so called rockertabs. When switching on or off one of the stops, the stop
switches would jump back to their middle position. Therefore a stoplamp is put in each stop switch to
indicate if a stop is switched on or off. The stop lamps are working when using hand registration as well
as when using the presets, the capture system or the general crescendopedal.
Two groups of accessories (couplers and tremulants
@,
midi switches, chorus and intonation-2
@)
are
located on the left side of the keyboards. The speaking stops are located above the keyboards. The group
of speaking stops are (starting on the left):
12
pedal stops ®to be played on the pedalboard
@,
16
great
stops
0
to be played on the great manual
0,
and
19
swell stops ®to be played in the swell manual
®.
The stop lamp intensity is adjustable with the overall rotary control STOP LAMPS
@.
This control is
located on the left side beneath the keyboard shelf.
The general volume is, independent of the position of the expression pedals, adjustable with the overall
rotary control VOLUME
@.
The volume of the great division together with the pedal division is (independent of the position of the
general volume control) adjustable with the left expressionpedal
@.
The volume of the swell division is (independent of the position of the general volume control)
adjustable with the middle expressionpedal
@.
When switching on the coupler SWELL TO GREAT, the stops of the swell division can be played not
only on the swell manual but also on the great manual (in combination with the stops of the great
division).
Using the coupler GREAT TO PEDAL, the stops of the great division can be played not only on the
great manual but also on the pedalboard (in combination with the pedal stops).
The coupler SWELL TO PEDAL can be used to play the stops of the swell division not only on the
swell manual but also on the pedalboard (in combination with the pedal stops).
The three above mentioned couplers are full couplers. This means: all depressed keys are coupled. This
in contrary to the two couplers described below.
This coupler is not a full coupler: Only the lowest note of the chord, played on the great manual, is
coupled to the great manual.
By pressing the switch CF
@ ,
the swell stops are coupled to the great manual. Also this coupler is (in
contrary to the stop SWELL TO GREAT) not a full coupler: only the highest note of a chord, played on
the great manual, is coupled to the great manual. With this coupler the effect of a so called cantus
firmus can be created.