Lowrey Organs Heritage User manual

OWNER'’S
MANUAL
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To get the most from your Lowrey, to fully enjoy its
great musical possibilities, we sincerely urge you to read
this manual carefully. Certain sections will warrant
re-reading several times as your musical ability increases.
The time you spend will repay you a hundred-fold in
additional pleasure, enjoyment and satisfaction.
GUARANTEE
The Lowrey Organ is guaranteed to be free from defective material and workmanship
and the manufacturer agrees to remedy any such defects, or to furnish a new part in
exchange for any part of its manufacture which under normal installation, use and
service discloses such defect, provided the instrument is delivered by the owner to us
or the authorized dealer from whom the instrument was purchased, intact for our
examination, with all transportation charges prepaid to our factory, within one year
from the date of sale to the original purchaser, and provided such examination
discloses in our judgment that it is defective.
This guarantee does not apply to vacuum tubes and the loud-speakers covered by
the guarantee of their makers, which is ninety days from date of purchase. We
assume no liability under this guarantee if the instrument has been subjected to
misuse, neglect, accident, incorrect wiring not our own, or any changes made to the
circuits or any part of the instrument, except substitution of resistors and condensers
and provided said resistors and condensers are of high quality brand names of
manufacturers whose products have been approved by us, and provided further
that there has been no improper installation or use of the instrument other than
provided for in the instructions accompanying the purchase of the instrument, nor
does this guarantee apply to parts which have been repaired outside of our factory,
nor to instances where the serial number of the instrument has been removed or
defaced, or changed, nor to accessories not of our own manufacture used therewith.
This guarantee is in lieu of all other guarantees expressed or implied, and no repre-
sentative or person is authorized to assume for us any other liability in connection
with the sale of the instrument.
THE LOWREY ORGAN COMPANY
7373 N. CICERO AVE. * CHICAGO 46, ILLINOIS
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a
story
of
the
past
families
were
able
to
build
a
small
organ
into
their
Well over two thousand years ago the first organ
pipes were developed. Through the centuries the
Organ grew in versatility—but it also grew in size, in
weight and in cost. By the end of the 19th century
some organs had as many as six—and even seven
keyboards (manuals).
Not many years ago, only a few of the wealthiest
homes.
It
was
not
until
recent
years
that
a
spinet
organ
was
available
for
the
home.
But
thanks
to
mod-
ern
science,
you
now
have
a
spinet
organ.
This
truly
remarkable
electronic
instrument
has
solved
the
three
problems
of
enormous
cost,
excessive
space
re-
quired
and
tremendous
weight.
a
few
words
about
the
LOWREY
organ
Since 1894, Lowrey has spent many pioneering
years in research and development of fine organ tone.
Some work was done as early as 1910 and, beginning
in 1918, a great deal of research went into several types
of electric generators. With the advent of the electronic
vacuum tube, Lowrey began in 1928 to develop what
later became known as an “‘electronic’’ organ.
Through the 1930’s and 1940's many different gen-
erating systems were developed, some of them which
are now being used by other companies. These were
all abandoned by Lowrey in favor of the new ‘‘Eccles-
Jordan”
circuit,
which
today
is
the
most
advanced
and
stable
circuit
in
the
industry.
Thus,
your
Lowrey
is
different
than
any
other
organ
in
that
it
starts
with
the
odd
harmonics
of
a
clarinet
tone,
and
as
a
result
can
produce
not
only
good
reed
tones
but
also
clear,
clean
flute
tones
and
fine
string
tones,
rich
in
harmonics.
The
Lowrey
was
not
an
“‘over-night’’
discovery.
The
many
pioneering
years
spent
in
organ
research
and
development
have
resulted
in
the
creation,
design
and
manufacture
of
a
high
quality,
dependable
organ
which
is
considered
as
an
outstanding
achievement.

are you
ARTIST,
AMATEUR
or BEGINNER
If
you
have
had
experience
with
an
acceptable
organ,
you
will
be
familiar
with
the
strange
words
of
‘‘stops"’
“e
footages''—"‘solo"—"‘sustain,""
etc.
Thus,
you
will
instantly
feel
very
much
“at
home”’
with
your
Lowrey
Heritage.
If
you
have
had
experience
with
a
keyboard
instru-
ment
but
not
with
the
organ,
you
will
want
to
read
all
that
follows.
The
organ
is
different
than
other
key-
board
instruments,
since
it
encompasses
practically
every
field
of
tone
and
has
a
greater
dynamic
range
than
any
other
musical
instrument.
If
you
wish
to
purchase
organ
music,
you
will
find
that
there
is
a
vast
quantity
of
Lowrey
organ
music
available
from
(6) Organ Volume
(H) Sustain Tabs
controls
and their
operation
dealers.
When
inquiring
about
music,
most
music
|
be
sure
to
ask
for
Lowrey
organ
music.
With
the
wealth
of
fine
Lowrey
organ
methods
that
are
available
today,
everybody
can
play
the
Lowrey
Organ
(even
though
you
have
never
played
a
note
before).
May
we
also
refer
you
to
the
exclusive
Lowrey
‘‘Minit-Music”’
method—available
only
to
purchasers
of
the
Lowrey
Organ.
Aiter
you
are
play-
ing
your
favorite
melodies,
either
with
“Minit-Music
or
with
any
other
organ
method,
you
will
enjoy
many
countless
hours
at
your
Lowrey
Heritage
with
all
of
its vast resources,
(F) Vibrato Tabs
(B)
Upper
Keyboard
Control
(E) Expression Pedal
(D) Pedal Keyboard
(C) Lower Keyboard
(A)
Starting
Switch
(1) Lowrey Glide

SUS et
controls and
Just to make sure you understand the basic parts of
your Lowrey Heritage, carefully read each of the
following paragraphs with the organ in view. A good
knowledge of your instrument and what it can do will
assure you of greater ease in playing it, and thus
greater satisfaction and enjoyment.
(a) Starting Switch. This ‘‘On-Off Switch’’ to the
tight of the lower keyboard controls the entire organ.
It will ‘warm up" in about fifteen seconds, but a few
seconds additional time may be required for the
vibrato section to take effect.
(b) Upper Keyboard. This is the Upper or ‘‘Swell
Manual."’ Generally, it is played with the right hand,
but many times it is played with both hands or just the
left hand alone. The stop tabs in the top two rows
control
the
tones
for
this
Upper
Manual
and
they
may
be
played
singly
or
in
any
combination.
They
are
called
‘‘Stops"’
because
they
stop
the
particular
voice
when
the
tab
is
in
the
‘‘Off'’
position.
That
is,
when
they
are
horizontal.
Tilting
the
tab
forward
‘turns
on”
that
particular
voice.
Notice
how
easy
it
is
to
quickly
select the voice or voices you desire.
(c)
Lower
Keyboard.
This
is
known
as
the
Lower
or
“Great
Manual.'’
Although
the
left
hand
is
gener-
ally
used
on
this
manual,
there
are
many
occasions
when
both
hands
are
used
or
just
the
right
hand
alone.
The
stops
which
affect
the
lower
Manual
only
are
those
in
the
lower
row—the
black
Solo
8’
through
and
including
the
String
8’.
(d)
Pedal
Keyboard.
Note
that
you
have
a
full
oc-
tave
of
thirteen
pedal
keys,
the
equivalent
of
16’
and
8"
pipes,
from
C
through
C
an
octave
above.
The
tones
from
these
pedal
keys
add
a
rhythm,
or
in
faster
or
popular
music,
a
‘‘beat.’’
Thus,
as
in
an
orchestra,
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their
operation
while
the
pedals
keep
a
rhythm,
one
hand
can
play
the
melody
and
the
other
hand
can
add
an
accom-
paniment.
As
you
listen
to
an
orchestra,
generally
you
will
hear
these
three
“levels’’
of
music.
(e)
Expression
Pedal.
As
with
all
organs
and
unlike
the
piano,
there
is
no
way
to
control
volume
or
get
“expression'’
from
the
keyboard.
Therefore,
the
Ex-
pression
Pedal,
operated
by
the
right
foot,
permits
you
to
change
the
volume
from
loud
to
soft—just
as
a
singer
varies
the
volume
or
his
voice
or
as
an
orches-
tra
changes
the
amount
of
sound
it
produces.
(f)
Vibrato
Tabs. These
are
the
three
black
tabs
to
the
right
in
the
top
row.
They
permit
you
to
add
‘wavering’
effects
to
all
types
of
music.
Their
con-
venient
location
and
ease
of
operation
will
enable
you
to
add
an
amazing
variety
to
your
music.
(g)
Organ
Volume.
This
tab
controls
the
overall
volume
of
both
manuals
and
the
pedalboard.
This
will
be
discussed
at
greater
length
under
the
heading
of
‘Mechanical
Stops."
(h)
Sustain
Tabs.
The
two
red
Manual
Sustain
tabs
in
the
upper
manual
section,
as
well
as
the
‘Pedal
Sustain”
tabs
in
the
upper
section
will
be
covered
completely
under
the
heading
of
‘Mechanical
Stops”’
further
in
this
manual.
(i)
Glide
Control.
This
innovation
is
exclusive
with
Lowrey
Organs—no
other
instrument
offers
this
won-
derful
feature.
It helps
to
complete
the
illusion
of
the
guitar,
trombone,
trumpet
and
strings
as
they
are
played
in
an
orchestra.
For
those
who
are
not
too
familiar
with
organ,
we
suggest
that
this
control,
mounted
to
the
left
of
the
Expression
Pedal,
not
be
used
unti!
some
degree
of
familiarity
with
the
instru-
ment
has
been
developed.

STOP
TABS
and
what
they
mean
Originally,
the
word
“stop”
in
a
pipe
organ
referred
to
a
control
which
“stopped”
the
wind
to
a
specific
group
of
pipes.
Later,
it
signified
a
set
of
pipes
for
the
whole
manual,
one
pipe
for
each
key
all
of
which
pro-
duced
the
same
tone
color.
With
the
developments
in
the
20th
century,
organs
now
have
two
classes
of
stops—"‘speaking"’
stops
which
bring
forth
the
actual
voices
or
tones;
and
‘‘mechanical’’
stops
which
by
themselves
produce
no
tone
but
create
different
effects
on
the
individual
speaking
stops.
If
this
sounds
somewhat
confusing
we
suggest
that
you
reread
this
paragraph
so
that
you
know
the
difference
between
the
two
types
of
stops.
In
this
section
we
will
first
cover
the
speaking
stops
so
that
you
will
know
something
about
the
history
and
use
of
each
one.
Following
this,
each
of
the
mechan-
ical
stops
will
be
covered
in
detail.
SPEAKING STOPS OR VOICES
If
you
are
not
familiar
with
the
many
stops
in
the
vast
field
of
organ
terminology,
the
subject
must
appear
confusing.
However,
it
is
really
quite
simple.
All
stops
fall
into
one
of
four
families
known
as
Flute,
String,
Reed
and
Diapason.
In
the
bottom
row
of
tabs
is
the
Diapason
8’,
and
in
addition,
various
Diapasons
can
be
created
by
combinations
of
other
stops.
For
example,
add
more
String
or
Reed
tones
for
a
more
biting
Diapason,
or
Flutes
for
a
softer
or
“'mellower’’
Diapason.
Flute tones may be described as full and round,
very mellow and with practically no overtones. The
Opposite are the String tones which have a vibrant,
keen quality that in certain voices can be biting or
harsh—they often resemble the string instruments in
an orchestra. The Reed tones defy description as a
group because there are so many varieties—some are
close to the Flute in their tone while others will
closely resemble the String tone.
FOOTAGE
On your Lowrey each voice is marked with a ‘‘foot-
age"’ designation such as 16’, 8’, 4’, and 5%’. These
are so marked because this is the organist’s unit of
measure, So you can quickly understand this subject,
just consider an 8’ group of pipes as the basic pitch.
It is called 8’ because the longest pipe (the lowest
tone) in this group is 8' high in a pipe organ. As we
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go up the scale, each pipe becomes progressively
shorter—however, each pipe in the series is referred
to by the actual length of the longest pipe even though
the rest of them are smaller. So, although there are
no bulky, space-consuming pipes in the modern and
versatile Lowrey organ, the stops are marked in
“footages’’ for your convenience.
Now, turn on the 8’ Flute for the Upper Manual.
Middle
C
is
the
lowest
C
on
the
manual.
Press
this
key
and
you
will
hear
the
8’
voice.
Holding
the
same
key
if
you
now
add
the
4’
Flute
you
also
hear
a
“tone”
exactly
one
octave
higher
in
pitch.
If
you
add
the
16’
Flute,
you
now
hear
a
third
tone
one
octave
lower
in
pitch
than
the
8’
voice.
When
you
add
the
Quint
5/4"
you will hear the G immediately above middle C. With
these
four
tabs
in
the
‘‘on'’
position
you
will
hear
four tones and in the organist’s language, you have
“coupled"’ these four sets of pipes so that every
time you press one key you will hear four tones. If
you play a chord of four notes you will produce six-
teen tones. This is what gives the organ its full body
and richness of tone.
Just remember that 8' is the basic pitch. The 16’
stop sounds one octave lower and the 4’ stop sounds
one octave higher. The Quint 5%’ plays a fifth above
which will be explained in detail under the discussion
of that voice in the next section.
Pipe organists, who may not be familiar with the
modern electronic ‘thome"’ organ, might refer to the
lower manual as the ‘'Great’’ Manual. This is correct
in pipe organs because the ‘‘Great'’ has more stops,
footages and power than the upper or ‘‘Swell’”’ Man-
ual. However, all modern home organs have most of
their voices on the upper or ‘‘Melody"’ manual so that
itis easier to play all types of music, not just classical
and religious.
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PRESETS
The
group
of
four
white
tabs
printed
in
red
in
the
top
row
are
known
as
“‘presets.’’
In
other
words,
just
as
with
large
and
very
expensive
organs,
several
qualities
have
been
drawn
together
and
connected
to
a single
stop
tab
so
that
you
can
instantly
get
different
voices
to
produce
various
effects.
NOTE: Vibrato and Sustain instructions are indicated
on these four tabs. These “‘presets’’ require certain
techniques which you will quickly acquire and greatly
enjoy once you have tried them.
VIBRAHARP
This voice is always played with the ‘'Long’’ Manual
Sustain and a ‘‘Slow-Heavy"’ Vibrato. The technique
of the fingers is definitely staccato and can be played
in single notes or with chords. However, all notes of
the chord should not be struck at once; they should
be ‘rolled’ to duplicate the vibraharp which you
frequently hear in popular music. When learning the
technique you might start with selections such as
“Song of the Islands,” ‘‘Melody of Love,"' ‘‘Sleep,"’
etc. For accompaniment on the lower manual you
can couple the same voice using the Upper to Lower
8'-4’ coupler, or the Melodia 8’, French Horn 8’ or
String 8’ from the Lower Manual voices.
HARPSICHORD
For this effect use the ‘‘Medium"’ Sustain and no
vibrato. We suggest that you use this voice with the
red ‘Solo 8’ on the Upper Manual and turn on the
Upper to Lower 8’-4’ coupler so that the voice carries
to the lower manual—you now have an 88-note key-
board. Play in a completely staccato fashion with
both hands and try ‘18th Century Drawing Room,”
Paderewski’s ‘‘Minuet in G,”’ etc. For a more brilliant
Harpsichord, try adding the String 4’ to the Harpsi-
chord preset.
GUITAR
With
this
voice
use
the
Long
Sustain
and
Slow-
Heavy
Vibrato—try
‘‘Blue
Hawaii’’
or
one
of
the
selec-
tions
mentioned
under
Vibraharp.
Start
with
single
notes.
Do
not
hold
the
keys.
Depending
upon
the
selection
and
the
speed
with
which
it
is
played,
the
technique
can
be
staccato
or
the
key
can
be
held
for
a
small
fraction
of
a
second
each
time.
Your
own
judgment
will
help
you
after
you
listen
to
guitar
music.
To
complete
the
sound
of
the
Guitar,
use the
Lowrey
Glide
Control
on
certain
notes,
pressing
the
Glide
Control
with
the
right
foot
at
the
same
time
you
strike
certain
notes.
Do
not
press
the
Glide
Control
for
every
note
played!
This voice can be changed slightly by adding the
Clarinet 8’ or the Flute 8’. In fact, a ‘steel guitar’
effect can be created with just the Flute 8’ and Fast-
Heavy Vibrato. To introduce a string-like quality, add
either the 8’ or 4’ String, whichever seems preferable
for the selection being played.
MUSIC BOX
This
is
a
soft
voice
and
it
generally
should
be
played
without
the
Solo
8’
tab.
Use
the
Long
Manual
Sustain
and
no
vibrato.
As
a
pure
music
box,
it
should
be
played
with
both
hands
in
the
upper
half
of
the
key-
board
in
an
extremely
staccato
fashion.
The
lower
manual
and
pedal
board
are
not
used
for
this
effect.
For
slightly
different
voices,
add
either
the
Flute
4’
or String 4’.
The upper
LOWREY
VOICES manual
TROMBONE
16’
(Reed
Family)
Principally,
the
function
of
this
stop
is
similar
to
that
of
the
bass
trombone
in
an
orchestra.
However,
to
simulate
the
orchestral
instrument,
use
a
vibrato
setting
of
Slow-Heavy
and
play
on
the
Upper
Manual
in
the
lowest
two
and
one-half
octaves.
Exclusive
with
the
Lowrey,
an
unusual
voice
can
be
obtained
over
the
entire
manual
when
it
is
also
combined
with
the
Quint
5%’
in
any
vibrato
choice
to
suit
the
music.
FLUTE 16’ (Flute Family)
Flute
stops
are
essential
to
any
competent
organ.
A
good
flute
should
be
round
and
mellow,
clear
and
clean
without
overtones
or
“‘fuzziness."’
A
great
deal
of
research
has
gone
into
the
flutes
of
the
Lowrey.
You
will
enjoy
the
fine
quality
of
this
and
the
other
flute
stops
since
they
add
a
“‘mellowness”’
which
combines
beautifully
with
all
other
stops
on
the
manual.
Note:
When
playing
a
chord
in
the
lowest
octave
of
the
upper
manual
and
using
just
the
16’
voices,
you
will
hear
only
the
lowest
key
depressed.
This
has
been
designed
purposely
to
avoid
any
‘‘muddiness”’
or
distortion
which
would
otherwise
occur.
FLUTE 8’ (Flute Family)
This stop is a companion to the 16’ Flute but plays one
octave higher. It combines excellently with all other
voices. As with all flutes on the Lowrey, it is a true
flute, round and mellow, ideal for soothing music.
This and the other 8’ voices on the upper manual are
purposely designed to repeat after the top E—thus,
single notes should not be played beyond this point
but of course, this does not apply to playing chords.
CLARINET 8’ (Reed Family)
This is an excellent solo stop. When played without
vibrato, it closely resembles the orchestral clarinet
because it has a smooth, hollow, reed tone of great
beauty. It not only possesses this richness of the
orchestral clarinet but in the middle portion of the
keyboard it is superior to the orchestral instrument,
because it is less shrill. When combined with the
Quint 5%’, many unusual and “‘oriental’’ effects can
be obtained. For related effects, it is desirable to also
add the trumpet or string voices.

TRUMPET
8’
(Reed
Family)
When
played
as
a
solo
in
the
middle
register
of
the
Upper
Manual
with
a
Slow-Heavy
Vibrato,
this
stop
to
some
extent
produces
the
effect
of
an
orchestral
trumpet.
Adding
the
‘‘Medium"
manual
sustain
will
give
a
natural
reverberation
which
somewhat
resem-
bles
the
sound
of
a
trumpet
in
a
large
auditorium.
Quite
often,
it
is
used
to
combine
with
other
stops
to
give
a
brilliance
to
the
music
being
played.
In
such
cases
the
addition
of
a
Fast-Heavy
Vibrato
for
popu-
lar
music
is
most
desirable,
OBOE 8° (Reed family)
This
is
an
excellent
solo
stop,
which
closely
resem-
bles
the
plaintive
voice
of
the
orchestral
instrument
when
played
in
the
lower
three
octaves.
For
those
who
know
the
orchestral
instrument,
we
merely
men-
tion
that
this
voice
has
a
greater
range.
A
fascinating
and
haunting
quality
can
be
obtained
by
adding
the
Clarinet
8’
and
the
Quint
5%’.
In
such
case,
the
effect
is
created
with
or
without
vibrato
and
may
be
played
throughout
the
entire
manual.
STRING
8’
(String
Family)
This
is
a
foundation
stop
which
is
appreciated
by
the
pipe
organist
because
of
its
fine
quality.
When
played
without
a
vibrato
you
will
hear
the
rich
harmonics
of
a
fine
pipe
organ.
With
the
Fast-Heavy
Vibrato
in
the
upper
register,
it
closely
resembles
the
fullness
of
an
orchestral
violin.
By
playing
in
the
lower
portion
of
the
keyboard
a
Viole
effect
can
be
obtained
with
the
use
of
the
Slow-Heavy
Vibrato.
In
combination
with
other
stops,
this
string
tone
adds
a
richness
and
bril-
liance
to
the
tone
quality.
FLUTE 4’ (Flute Family)
This stop is typical of the Lowrey’s clear, clean flutes
and is the ‘‘little brother’’ of the 16’ and 8’ Flute stops
previously discussed. It plays one octave higher than
the 8’ Flute and two octaves higher than the 16’ Flute.
It is effective up to and including ‘‘E"’ in the top
octave but is purposely designed not to be played as
a solo beyond this point. When played with sustain
and without vibrato, you can obtain Celeste and bell-
like tones; also a brightness and keen quality when
combined with other stops.
STRING 4’ (String family)
This is the companion of the 8’ String and plays one
octave higher than the 8’ voice. When played as a
solo with the Fast-Heavy Vibrato, it closely resembles
the “Gypsy”’ or orchestral violin in a higher register.
When combined with other stops, it adds a rich,
“biting’’ quality, very brilliant in nature. It is abso-
lutely essential for many types of organ music.
QUINT 5%’ (Flute Family)
This stop should never be played alone. The reason
is that it produces a tone ‘‘a fifth’ above the key
which is struck. In other words, when you press a
“C” only the ‘‘G”’ will be heard—if you press a ‘'‘D"’
only the ‘‘A"' will be heard. The top three keys pur-
posely
produce
no
sound.
The
stop
is
a
“must”
on
all
fine
organs
because
in
combination
with
otiet
stops,
it
adds
a
richness
called
“tone
coloring.
When
combined
with
the
16’
Flute,
the
basic
quality
of
a
“flute
organ”
will
be
heard.
In
combination
with
other
stops
where
the
Quint
5%,’
can
still
predomi-
nate,
it
lends
an
oriental
atmosphere
to
any
melody.
Continued
experiment
with
this
stop
will
determine
its
best
uses
to
satisfy
your
particular
taste
and
style
of playing.
The lower
LOWREY
VOICES manual
MELODIA 8’ (Flute Family)
Because your Lowrey follows a pattern of the finest
organs, this flute stop is quite mellow and slightly
hollow, with a perfect blending quality for all the other
voices. When arpeggios are played in the top one and
one-half octaves, of the Lower Manual, it has a lovely
“bell-like’’ quality which makes a delicate accompani-
ment for the String or the Clarinet voices in the Upper
Manual. To maintain a real beauty of tone, it has been
carefully voiced so as not to be over-powering. This
and the other 8’ voices on the lower manual are pur-
posely designed so that when two or more of the
lowest eight keys are depressed, only the lowest
tone will be heard. This eliminates any possibility
of ‘“‘muddiness”’ or distortion which would otherwise
occur.
DIAPASON 38’ (Diapason family)
This is primarily a pipe organ voice and has a beauti-
ful tone quality for playing hymns without vibrato on
the Lower Manual only. However, itis often combined
with other stops when a “pipe organ’’ quality is
desired.
TROMBONE 8’ (Reed Family)
This
stop
has
the
same
quality
as
the
Trombone
16’
on
the
Upper
Manual
but
it
sounds
one
octave
higher.
When
played
alone
on
the
Lower
Manual,
it
offers
the
ideal
accompaniment
for
the
Trombone
16’—it
also
makes
a
fine
accompaniment
for
other
combinations
on
the
Upper
Manual.
In
combination
with
other
stops,
it
adds
a
resonance
or
‘‘body”’
to
the
voicing.
FRENCH
HORN
8’
(Reed
Family)
This
stop
can
be
used
with
the
Solo
8’
to
play
either
melody
or
counter-melody
on
the
Lower
Manual.
Without
a
vibrato
it
closely
resembles
the
orchestral
instrument.
It
has
been
made
a
part
of
the
Lowrey
since
in
recent
years,
the
French
Horn
has
become
a
very
important
part
of
many
expensive
organs.
It
should
be
used
frequently
as
the
accompaniment
for
softer
voices
and
combinations
of
the
Upper
Manual.
ENGLISH HORN 8’ (Reed family)
Essentially,
this
is
a
pipe
organ
voice
which
has
been

handed
down
through
the
centuries.
It
has
a
keen
biting
quality
which
makes
a
fine
accompaniment
either
with
or
without
vibrato.
To
some
extent
it
du-
plicates
the
orchestral
instrument
of
the
same
name.
VOX HUMANA 8’ (Reed family)
This is purposely the softest voice on the organ. It
has its own beauty and usefulness and is not in-
tended to duplicate the human voice. The result of
numerous unsuccessful attempts by pipe organ
builders over the centuries to imitate the human voice,
it has become so well liked that now it is heard often
during religious services in a Slow-Light Vibrato for
an interlude or offertory. When played with the
Heavy Vibrato, the voice has an individual quality
ideal for most music. It can also be used to create a
slightly different tone when combined with the
Melodia 8’, Diapason 8’ or French Horn 8’.
STRING 8’ (String Family)
This voice is identical to the String 8’ on the Upper
Manual and makes a fine accompaniment for the
Upper Manual. It also combines well with all other
stops on the Lower Manual to lend a brightness or
“‘crispness’’ because of the rich harmonics it con-
tains. For a good ‘‘cello’’ solo in the lower part of
the keyboard, use single notes only, the Slow-Heavy
Vibrato and the ‘‘Solo”’ stop.
PEDALS f
PEDAL 16’ and 8’ (Flute family)
Both
16’
and
8’
pitches
are
available
on
the
13
note
pedal
keyboard
of
your
Lowrey
Heritage.
(The
black
tab
located
third
from
the
left
in
the
top
row
of
tabs.)
These
clear,
resonant
pedal
tones
provide
the
rich
string
bass
effect
that
gives
depth
and
foundation
to
the
music
you
play.
Either
of
these
pitches
can
be
used.
The
judgment
is
left
entirely
to
the
discretion
of
the
player,
based
upon
his
style
and
the
music.
In
addition,
there
are
three
settings
of
pedal
inten-
sity—soft,
medium
and
full.
This
versatile
arrange-
ment
offers
the
equivalent
of
6
individual
pedal
stops
to
balance
properly
to
any
combination
of
manual
keyboard
voices.
A
complete
description
of
these
tabs is discussed on page 8
MECHANICAL STOPS
VIBRATO
This
interesting
and
appealing
variation
is
controlled
by
the
three
black
tabs
at
the
right
end
of
the
bottom
row.
They
create
the
wavering
effect
which
you
notice
most
in
the
violin,
the
cello
and
other
string
instru-
ments.
Listen
to
a
singer
and
you
will
hear
the
same
vibrato.
However,
the
‘‘speed”’
of
the
vibrato
(wavers
per
second)
varies
with
the
instrument
or
voice.
So
does
the
‘‘depth’’
which
is
the
extent
of
the
vibrato
above
or
below
the
accurate
pitch.
Some
instruments
have
a
great
deal
of
vibrato—others
have
very
little—
some
have
none.
First,
with
the
right
hand
vibrato
tab
in
the
“Off”
position,
it
makes
no
difference
what
is
‘‘set
up’’
on
the
other
two.
The
tone
will
resemble
that
of
a
pipe
organ
which
obviously
adapts
music
played
in
this
way
to
many
religious
selections
as
well
as
some
classical
music.
(However,
since
music
is
an
expres-
sion
of
a
composer's
or
musician's
feelings,
there
is
no
positive
rule
for
the
use
of
vibrato.)
Here
is
the
second
effect.
With
the
three
vibrato
tabs
off,
hold
a
tone.
Then
turn
the
right
hand
tab
to
the
‘‘On"
position.
You
are
now
using
a
“Slow-
Light’’
Vibrato
which
is
ideal
for
offertories
and
vol-
untaries
in
church
music
and
is
used
frequently
for
operatic,
light
classical,
and
some
ballad
selections.
Third,
(holding
the
same
tone)
move
the
left-hand
tab
from
Slow
to
Fast.
Now
you
have
a
‘‘Fast-Light”’
Vibrato
which
can
be
used
for
almost
any
type
of
music.
For a fourth vibrato, move the center tab from Light
to Heavy. Now, all three tabs are in the ‘‘on’’ position
so you have a ‘‘Fast-Heavy"’ Vibrato. This is used to
a great extent for ballad and popular music. The
string voices sound unusually rich and full when this
vibrato is used. Unusual ‘‘Theater Organ’’ effects
can be obtained when using the flute stops.
For the fifth vibrato combination, move the left hand
tab to the Slow position. This Slow-Heavy combina-
tion is used less frequently than any of the others
but it does have a desirability for Trombone, Trumpet
and for solo Cello and Hawaiian effects. This unusual
vibrato is applied differently by different musicians.
Note that this simple tab arrangement will permit
you to vary your music frequently while you play.
Sometimes you will use a particular vibrato for only
a few measures—or, by just turning the right-hand
tab to Off, you suddenly have no vibrato and after
playing four or eight measures, you can easily go
back to the previous vibrato.
In summary then, change the vibratos frequently
and you will never have the feeling that your music is
becoming monotonous. This is the ‘seasoning’’
|
|
j
j

which
you
can
add
to
make
your
music
just
that
much
more
delightful.
When
you
see
other
organs,
note
how
superior
your
Lowrey
is,
even
in
instru-
ments
that
cost
a
great
deal
more.
SOLO
16’,
8’, 4’,
5%"
These
five
solo
tabs
are
another
feature
originated
and
developed
by
Lowrey
engineers
which
will
make
you
both
happy
and
proud
that
you
have
selected
a
Lowrey
organ.
They
produce
no
sound
in
themselves
but
they
are
probably
the
most
valuable
tabs
at
your
finger
tips,
because
they
greatly
multiply
the
number
of
voice
combinations
from
your
instrument.
The
Solo
8’
in
the
Lower
Manual
increases
the
volume
of
any
or
all
of
the
five
Lower
Manual
voices.
For
example,
you
may
find
that
a
solo
melody
of
single
notes
in
the
left
hand
(or
just
staccato
chords)
may
not
be
loud
enough.
Without
adding
more
voices
but
just
by
turning
on
the
Solo
8’,
the
volume
of
the
notes
played
on
the
lower
keyboard
will
increase
and
offer
the
proper
contrast
to
the
voices
on
the
upper
manual.
Generally,
voice
combinations
are
set
up
for
the
Upper
Manual
without
any
of
the
solo
tabs.
Try
this
by
setting
up
the
four
flute
voices
of
16’,
8’,
4’
and
Quint
5%’.
Now,
if
you
wish
to
emphasize
the
lower
end
of
this
combination,
turn
on
the
16’
Solo.
By
the
same
token,
the
8’
Solo
brings
out
the
middle
range
and
the
4’
Solo
emphasizes
the
higher
range.
The
coloring
quality
of
the
Quint
5%’
is
accentuated
by
the
use
of
its
solo
tab.
In
other
words,
these
four
solos
double
the
number
of
upper
manual
voices.
Each
of
the
light
voices
is
a
sott
voice
and
by
applying
a
solo,
you
then
make
it
a
loud
voice.
Remember
this.
If
a
selection
is
played
on
both
manuals
and
you
feel
that
the
volume
intensity
of
one
manual
should
be
increased,
there
is
no
need
to
add
more
voices
as
you
would
have
to
do
on
other
instru-
ments.
Merely
turn
on
a
solo
tab
or
two
of
your
choice
and
you
suddenly
lift
the
melody
so
it
stands
out
just
like
a
solo
instrument
in
an
orchestra.
However,
do
not
use
all
the
Upper
Manual
solo
tabs
at
the
same
time.
The
terrific
volume
increase
would
only
over-
power
the
pedals,
cause
distortion
and
possibly
abuse
the
speaker.
When
solo
stops
are
not
used
in
either
manual
you
have
thousands
of
tonal
combinations
which,
like
other
organs,
can
be
arrived
at
purely
by
the
use
of
the
voice
tabs.
However,
by
adding
the
various
solos,
you
bring
into
play
additional
thousands
of
combina-
tions
which
will
make
your
music
just
that
much
more
enjoyable
and
interesting.
No
other
comparable
instrument
offers
you
this
“solo'’
method
of
easily
and
simply
selecting
so
many
additional
tonal
combinations.
COUPLER—Upper to Lower 8’-4”
The
red tab
at
the
extreme
right
of
the
bottom
row
of
tabs
will
couple
any
combination
of
the
presets
and
8’
and
4’
Upper
Manual
voices
to
the
Lower
Manual.
This
tab
is
colored
red
to
show
you
that
it
is
associated
with
all
the
solid
red
tabs
above
as
well
as
with
the
white
tabs
printed
in
red.
Turn
on
any
of
the
red
tabs
for
the
Upper
Manual—then,
holding
a
key
on
the
Lower
Manual,
turn
on
the
coupler.
You
will
notice
that
you
get
the
same
voice
and
effect
Manual.
ee
of
the
multiple
uses
for
this
tab
are
suggested
below.
You
might
wish
to
SAU
the
Vibraharp
voice
on
the
Upper
Manual
with
t
gs
voice
on
the
Lower
Manual.
ay
also
be
true
uitar
and
the
Harpsichord.
;
eA
have
a
combination
of
16’,
8’,
4’
and
ee
5%!
voices
with
Sustain
on
the
Upper
an:
i
can
couple
down
only
the
8
and
4
voices
a
e
Lower
Manual
for
a
complete
sustain
effect
be
one
Also,
just
as
you
are
able
to
get
a
combination
:
staccato
and
sustain
voices
on
the
Upper
Manual,
so
you
can
get
the
same
effect
on
the
Lower
Manvali
For
example,
using
a
sustained
Vibraharp
and
16
Flute
on
the
Upper
Manual
and
coupled
to
the
Lower
Manual,
add
the
Solo
8’
and
Melodia
8
to
the
Lower
Manual.
You
now
have
a
registration
which
will
per-
mit
staccato
chords
on
the
Lower
Manual
with
some
“reyerberation’’
coming
from
the
Upper
Manual.
Remember—the
Upper
to
Lower
oan
tab
will
not
couple
down
any
of
the
16’
or
Quint
5/4’
voices.
PEDAL—Soft, Medium, Full
These
two
white
tabs
in
the
top
row
control
the
volume
of
the
13
pedal
keys
played
with
both
feet.
With
both tabs
in
the
“‘off’’
position
you
will
have
a
small
degree
of
pedal
volume—hold
a
pedal
note
and
place
the
expression
pedal
part
way
down.
Now,
turn
the
left
hand
tab
to
the
Medium
(Med.)
position—and
finally
turn
on
the
‘‘Full’’
tab.
Here
you
notice
three
different
degrees
of
volume
or
pedal
intensity.
For soft classical or liturgical music where there is
no definite rhythm, the pedal setting should probably
be soft. With a rhythm tune like a waltz or a popular
song, you may wish to use the Medium intensity and
as you add voices to both manuals and increase the
volume from the keyboards, you will probably then
wish to use a Full pedal volume.
As you play different selections you will sense the
necessity for more or less pedal volume and will soon
become
accustomed
to
making
the
various
changes.
PEDAL SUSTAIN
No
other
instrument
offers
you
the
wonderful
Lowrey
electronic
pedal
sustain.
Using
no
pedal
sustain
and
the
loud
pedal
volume,
press
a
pedal
key
several
times.
Note
how
the
pedal
thumps
or
beats.
This
is
fine
for
rhythm
and
popular
melodies
for
dancing.
Now,
turn
“on”
the
pedal
sustain
and
listen
to
the
tone
hang
for
a
fraction
of
a
second.
For
ballads
and
romantic
tunes
this
is
ideal.
The
pedal
sustain
lends
an
even
greater
smoothness
to
such
music
as
re-
ligious,
semi-classical
and
“listening’’
selections.
The
Lowrey
pedal
sustain
thus
eliminates
the
need
for
large
pedal
keys
which
must
be
played
by
a
‘theel-
and-toe’’
method.
You
will
find
also
that
when
the
pedals
are
played
rapidly,
each
pedal
key
pressed
will
‘‘ground
out'’
or
cancel
the
previous
tone.
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ORGAN VOLUME
Although your Lowrey Heritage Organ is a spinet in
size, it has a great deal more versatility to offer than
organs which cost much, much more! In many re-
spects your Lowrey is like a pipe organ since the
volume keeps building as voice after voice is added
to the manuals. Therefore, it has been equipped with
this stop to govern the overall volume of the entire
instrument including both manuals and pedals.
When you play with just one or a few stops, you
will prefer to have this control in the Solo position.
When you use many tabs on both manuals (which
requires increasing the pedal volume as well), you
will undoubtedly prefer to place this control in the
Normal position. With just a moderate amount of
stops for both manuals and pedals, the control can
be in either position as your judgement dictates.
Remember just one thing. This is an overall volume
contro! so when you feel the output of the organ is
too loud or distorted, place it in the Normal position.
When you play with just a few voices, you will then
wish to place it in the Solo position.
ACCOMPANIMENT (Accomp)—Soft, Full
This is an outstanding Lowrey feature which gives
you complete control of the volume of the Lower
Manual. (The black tab located to the left in the
bottom row of tabs.) You now have three volume
intensities for the voices on the Lower Manual. For
example: turn ‘fon’ Melodia 8 and play a chord—
now add Accomp ‘‘Full’’—finally the Solo 8’ tab.
This makes it possible for the exact volume of the
Lower Manual voices to balance properly to any com-
bination of Upper Manual voices.
MANUAL SUSTAIN
These are the two red tabs to the right in the upper
row of stops—they control the five 8’ voices, the four
presets, the two 4’ voices and of course, the two red
solos of the Upper Manual. For your convenience,
~ | FRENCH | ENGLISH] VOX
HORN HORN |HUMANA] STRING
8" 8’ 8! 8’
this
section
is
marked
‘‘percussion’’;
the
voice
tabs
are
printed
in
red
and
the
mechanical
Solo
stops
are
solid
red.
Turning
both
of
the
sustain
tabs
on
will
cause
the
8’
and
4’
Upper
Manual
voices
to
die
away
over
a
period
of
about
two
seconds
after
a
key
is
released.
By
turning
the
left
hand
tab
to
Medium,
there
is
a
sustain
which
lasts
about
one
second.
These
two
tabs
can
create
many
different
instru-
mental
effects
which
will
be
described
later.
However,
the
wide
scope
of
this
manual
sustain
does
not
stop
here.
Reverberation of a most authentic nature can be
obtained with your new Lowrey Heritage. Use any
selection of 16’, 8’ and 4’ stops and play something in
the conventional organ manner. As with any organ if
acoustics are poor (due to smallness of the room,
carpeting, draperies, and other factors which deaden
sound) the resulting organ tone will seem suppressed
and restricted in its tonal quality. Then, introduce the
“‘Medium”’ Manual Sustain and later the ‘‘Long’”’ Sus-
tain. You will notice that the walls of the room seem
to ‘‘disappear’’ because you have added a natural
reverberation which normally could come only froma
large vaulted chamber or auditorium with hard floors,
walls and ceiling where the sound would echo and so
improve the tones produced. Your new Lowrey will
sound beautiful no matter how small or acoustically
“dead’’ the room may be.
The many special effects which you can enjoy as a
result of the Lowrey percussion system will be
covered in detail at the end of the next section on
“Registration.”

registrations
If
you
have
absorbed
the
material
in
the
previous
pages,
you
should
have
a
fairly
clear
understanding
of
the
various
terms
used
by
the
organist
as
well
as
a
knowledge
of
many
organ
stops.
You
are
now
in
a
position
to
absorb
knowledge
of
organ
“registration.”
To
begin
with,
organ
registration
is
nothing
more
than
selecting
and
combining
various
voices
of
an
organ
so
a
desired
effect
is
produced
when
the
music
is
played.
Actually,
the
word
“registration”
is
the
same
thing
to
organ
music
that
‘‘orchestration"
is
to
orchestral
music.
Keep
in
mind
the
stops
of
an
organ
are
to
the
organist
what
the
palette
is
to
the
painter—
they
each
have
colors
to
mix
and
the
final
result
is
dependent
upon
the
ability
to
understand
the
indi-
vidual
colors
with
which
they
work.
Beyond
that,
all
a
person
needs
when
playing
an
organ
is
a
personal
taste
and
imagination.
Just
as
a
painter
may
have
a
fine
knowledge
of
colors,
and
yet
be
a
poor
painter
because
of
lack
of
imagination
when
using
those
colors—so
may
a
performer
be
familiar
with
music,
and
yet
not
please
his
audience
because
of
his
lack
of
imagination
when
using
the
voices.
One more thing. Unless a person is a ‘‘sound engi-
neer’’ one room may look about the same as another
—however, the acoustics may be very different. Any
instrument or voice, particularly an organ, will sound
much different in a large room than a small room.
Generally, in a large room, an organ sounds better—
but if the room is heavily draped, fully carpeted and
contains a lot of furniture (people too) the result will
appear muffled or ‘‘dead.”” :
Placement
of
the
organ
in
the
room
is
also
very
Im-
portant.
There
is
no
way
to
determine
this
in
advance
—only
through
experiment
can
the
best
results
be
obtained.
It
will
sound
better
in
one
place
than
it
will
in
another—actually
it
should
face
an
open
area
so
that
the
sound
will
not
be
restricted.
Therefore,
a
particular
tab
arrangement
might
sound
a
little
differently
if
the
organ
is
moved
about
the
room
or
particularly
if
it
is
moved
to
another
room.
Avoid
if
possible,
acoustic
tile
on
walls
and
ceiling,
drapes,
carpeting
and
other
materials
which
will
absorb
sound.
With this understanding, the following registrations
are merely ‘‘suggested.’’ You will notice they are
quite different and you should consider them as basic
—in other words try them but undoubtedly you will
wish to make some changes to fit the particular selec-
tions which you play. Also, you may use several differ-
ent registrations for one selection because you may
play it in various ways and thus create different effects.
Above all, remember this—there is no one pre-
scribed tonal combination for any selection of music.
As a master chef seasons a fine dinner because he
knows what to use and how to use it—or as an artist
mixes his colors in just the right amounts,—so you
can blend the many fine voices and different effects
of the Lowrey Heritage Organ. Through experiment
and a good knowledge of the stop tabs, gained from
the previous pages, you can suit your own musical
taste and meet the need or mood of any occasion.
“Fun
With
The
Lowrey
Organ”
in
your
Heritage
Owners
Envelope
is
arranged
to
acquaint
you
with
the
magnificent
solo
voices
of
the
organ
such
as
clarinet,
strings,
trom-
bone,
oboe—the
reverent
church
qualities
which
are
in-
herent
in
every
Lowrey
organ—a
number
of
the
amazing
percussion
effects:
guitar,
vibraharp,
harpsichord,
banjo—
and
of
course,
the
unusual
special
effects
that
are
available
only
on
your
Heritage.
In
addition
to
“Fun
With
The
Lowrey
Organ,"
suggested
registrations
are
shown
on
the
following
pages
with
selec-
tions
from
the
Lowrey
Minit-Music
to
help
you
create
many
other
beautiful
tones
and
special
combinations
for
your
favorite
ballads,
hits
of
the
day,
hymns
and
the
timeless
classics.
—
; i i ie

suggested
registrations
POPULAR
‘For He’s a Jolly
Good Fellow’
Play the right hand on the
Upper Manual, with the
left hand on the
Lower Manual.
POPULAR
NORMAL
OFF
MEO.
OFF
SLOW
LIGHT
ORGAN
PEOAL
-
Guitar]
Music
[ESRTUENS
MANUAL
VOLUME
|
SUST
EGfaen
sUsT:
|)
SUST)
|
VIBRATO]
VIBRATO
|
VIBRATO
VIB. S-H
SUS-L.
|
SUS.-L.
LONG
ON
FAST
HEAVY
SOLO
B
“|rrumpet|
osoe
|
stRING
[Rome
FLUTE
|
STRING
16
r
’
a
8
8
“
4"
“
FRENCH | ENGLISH] VOX
ACCOMP, SOLO [uGMeiaiy HORN HUMANA] STRING
8 8 8’ 4 8° 8
POPULAR
‘Aloha Oe’
Play the right hand on the
Upper Manual with a light
quick touch, and the left
hand on the Lower Manual.
Or, if you like, ‘the
left hand may be
played on the Upper
Manual with the
chords ‘rolled’.
POPULAR
‘Swanee River’
Play the right hand on the
Upper Manual with a light
quick touch, almost
‘plucked.’ The left hand is
on the Lower Manual
and the pedal is
touched lightly.
SLOW LIGHT OFF
NORMAL | OFF
ORGAN | PEDAL HARPSI-] GUITAR
MOLUME
|
SUST
PEDAL
H]
VIBRATO
|
VIBRATO
|
VIBRATO
Soto
y
FULL
-m.
|
SUS-L
LONG.
|
]
rast
|
Heavy
a & 7
4 CLARI.
FLUTE NET |TRUMPET] OBOE | STRING
wi 8 8 8 8 8
: DIA TROM: | FRENCH | ENGLISH] VOX i
P Nooo) re] eemay MELODIA} PASON BONE HORN HORN | HUMANA! STRING
; & 8 8 8 8’ 8 8 8
FULL : i |
TRON.
SOLO, BONE
16! 16
FLUTE | STRING PRSeiMemm QUINT
4 5“ 5°
SOFT
a ay
NORMAL | OFF =] 316" SOFT
ORGAN |; PEOAL | =: H viBrRA- | HARPSI-] GUITAR| MUSIC
VOLUME: | -SUST. PEDAL PEDAL HARP. CHORD BOX
VIB. S-H VIB. S-H
MED FULL | SUS-L, | SUS-M ] SUS-L. | SUS-L
STRING BRS@iKeay FLUTE | STRING TRRQeoMme QUINT
8° co a cy 5 sh
SOFT OF
- | TROM- | FRENCH | ENGLISH] VOX
ACCOMP]. SOLO. [IMS BONE | HORN | HORN [HUMANA] STRING
8 8 fe 8° 8° 8’ 8" e 4
FULL
11

12
suggested
registrations BALLADS
BALLAD
NORMAL
|
OFF
SOFT
MED,
Ofh|
SLOW
|
LIGHT
OFF
Une
Mie
MANUAL]
MANUAL
Bae
l
VOLUME
sust.
PEDAL
|
PEDAL
EGS@
SUST)
|
SUST.
|
VIERATO|
VIGRATO
|v!
VIB. SH
‘
FULL
SuS-L
|
SUS
FAST
|
HEAV
‘Long, Long Ago’
Play the right hand with a
light quick touch on the
Upper
Manual,
with
the
left
:
FLUTE
TRUMPET
STRING
LUTE
Sah
28
au
hand on the Lower
Manual.
ca
Again, the left hand
may be played on the
Upper Manual with
the chords ‘rolled’.
ACCOMP.)
SOLO
[Eien
HUMANA!
STRING
es 8"
'
8!
8!
BALLAD
NORMAL
OFF
i
SOFT
SLOW
LIGHT
OFF
VOLUME | SUST, PEDAL | PEDAL | HARP | CHORD
ORGAN | PEDAL
| | VIBRATO
ST) )] VIBRATO] VIBRATO
VIB S-H
MED
FULL
|
sus
-t.
|
sus.M
|
sus-t
LONG
FAST
|
HEAVY
CLARI
FLUTE NET TRUMPET, OBOE STRING
8’ 8 8 8 8
VIBRA: | HARPSI-] GUITAR
ON
‘Mary Had a Little Lamb’
Play the right hand with a
light quick touch on the
Upper Manual, with the left
FLUTE
§
STRING
BRyelMe}
QUINT
16
a“
5%!
5¥4'
hand
on
the
Lower
Manual.
TROM-
| FRENCH
| ENGLISH]
vox
}
ACCOMP.
SOLO
BONE
HORN
HORN
|HUMANA]
STRING
8
'
8
3
8
8
8"
BALLAD
NORMAL
|
|
OFF
stow
|
tight
|
oFF
ORGAN
PEDAL
VIBRA-
|
HARPSI-|
GUITAR
MUSIC
Hl
votume
|
SUST,
PEDAL
|
HARP
|
CHORD
BOX
VIBRATO
|
VIBRATO
|
VIBRATO
SOLO
ON
FAST
HEAVY
‘Auld Lang Syne’
Play the right hand with
a ‘smooth’ organ touch on
the Upper Manual, with
the left hand on the
Lower Manual.
TROM
BONE
16
FLUTE
b
SOLO.
QUINT
16
eBt
5%!
5M"
FRENCH
ACCOMP)
SOLO
[NMCDTN
MTC)
HORN
HUMANA]
STRING
8° 8 8! 8
Adah? EMDR TRORAENE H Bae RD Fey
ie oe
i | ; | ja] Be a

r sj
;
suggested
registrations
CLASSICAL
‘Lullaby’ (Cradle Song)
Play the right hand with
a light quick touch on the
Upper Manual, with the left
hand on the Lower Manual.
Or, play both hands
an octave higher
on the Upper Manual
very lightly.
SOFT
Evel an mere sem MELODIA] PASON
FULL
CLASSICAL
‘Old Black Joe’
Play the right hand on
the Upper Manual, with the
left hand on the
Lower Manual.
CLASSICAL
iil
‘America’
Play the right hand on
the Upper Manual, with the
left hand on the
Lower Manual.
ACCOMP.
NORMAL
ORGAN
VOLUME
SOLO
8
NORMAL
ORGAN
VOLUME
SOLO
PNetele)! | A MmcieRelam MELODIA| PASON | BONE HORN | HORN |HUMANA] STRING
8" ;
NORMAL | .
ORGAN
VOLUME
SOLO
SOLO
8
CLASSICAL é:
OFF
y
MED.
OFF
SLOW
|
LIGHT
OFF
PEDAL
HARPSI-|
GUITAR|
MUSIC
JIDENSITNS
ESESSZNS
;
SUST
PEDAL
CHORD
Box
SUstT,
J
SUST
|
VIBRATO}
VIBRATO
|
VIBRATO
vib.
S-H
:
é
SUS-M.}
SUS-L
SUS
-L
LONG
FAST
HEAVY
ON
TRUMPET] OBOE STRING SOLO FLUTE | STRING
8’ 8 8 i ce 4
HUMANA] STRING
8 8 4 8! 8°
MED. OFF SLOW LIGHT OFF
OFF " SOFT
PEDAL
vipRA-
|
HARPSI-|
GUITAR]
MUSIC
BIZACUINE
ROUSE
SUST.
PEDAL
|
PEDAL
|
HARP
|
CHORD
BOX
SUST,
}
SUST.
|
VIBRATO]
VIBRATO
|
VIBRATO
VIB. S-H VIB. S-H
ON
}
MED
Futt
|
SuS-L.
|
SUS-M
|]
SUS.-L
|
SUS-L
LONG
ON
FAST
HEAVY
TROM
BONE | FLUTE
STRING Moye} QUINT
16 16 4!
5% Sh’
DIA TROM- | FRENCH | ENGLISH] VOX
8 8 8’ 8' 8’ 8’ 8'
OFF SOFT SLOW | LIGHT OFF
PEDAL : HARPSI-] GUITAR | MUSIC
SUST. ° PEDAL | PEDAL CHORD 80x VIBRATO] VIBRATO | VIBRATO
¥ VIB S-H
ON : MED FULL sus.m | sus-t | sus. § 4 FAST | HEAVY
STRING
STRING
8 4"
FRENCH | ENGLISH
HORN |HUMANA] STRING
a 8’ 8"
i.

suggested
registrations
‘Sweet Hour of Prayer’
Play the right hand on
the Upper Manual, with the
left hand on the
Lower Manual.
| ACCOMP
FULL
| HYMNS
ll
| ‘O Worship the King’
| Play the right hand on
| the Upper Manual, with the
| left hand on the
Lower Manual.
ACCOMP.
HYMNS
‘Come Thou
Almighty King’
Play the right hand on
the Upper Manual, with the
left hand on the
Lower Manual.
SOFT
ACCOMP.
NORMAL
ORGAN
VOLUME PEDAL
SOLO
SOLO
8
Bielkelg MELODIA| PASON
8 8’ 8
FRENCH
PEDAL
FLUTE
8°
HORN
MED. OFF SLOW | LIGHT
MANUAL
‘SUST.
music UZATNG
BOX SUST.
HARPSI-
CHORD.
UTAH VIBRATO | VIBRATO | VIBRATO
Bus.L
LONG
FAST
|
HEAVY
ON
SUS -L ON
STRING He
' 51s
TRUMPET] OBOE
STRING [iRseee)
8 8 8’ 4’
FLUTE
4 4
ENGLISH
HORN |HUMANA| STRING Beier
a 8 8’
a
NORMAL SOFT
ORGAN
VOLUME PEDAL
PEDAL
FULL
HARPSI-
CHORD
GUITAR
HEAVY ON
QUINT
5%
STRING [iiSteImo)
5h
SOLO
3°
FRENCH
HORN
ENGLISH
HORN
NORMAL
OFF
16°
SOFT
|
|
SLOW
LIGHT
OFF
ORGAN | PEDAL VIBRA- | HARPSI-] GUITAR | MUSIC
NoTOUNTS
Meee
Mere
PEOAL
|
PEDAL
|
HARP
|
CHORD
BOX
VIBRATO
|
VIBRATO
|
VIBRATO
VIB.
S:H
VIB
S-H
SOLO ON MED FULL SUS +L SuS-M | SUS-L SUS -L
DIA- TROM-
Sle]emm MELODIA] PASON BONE
8" 8B 8" 8"
a
HORN
8
FRENCH | ENGLISH
STRING
a!
so}
STRING
4 5M’
HUMANA] STRING
8’ a
Ta]

4
oem
LOWREY
GLIDE CONTROL
There are many reasons why your Lowrey is such a
superior instrument. If you have carefully read the
previous portions of this book, you are now aware of
those many advantages. Once you feel you have
obtained some familiarity with your new instrument,
you are ready to move into the use of the exclusive
Lowrey Glide Control.
Musicians everywhere—amateur, artist, and profes-
sional—all say that the exclusive Lowrey Glide Con-
trol is the greatest organ development in recent years.
Some organists are not even aware that it is available;
and not many realize the wonderful way in which it
enhances the orchestral voices of the trombone,
clarinet, trumpet, strings, flutes, etc.
The Lowrey Glide Control is located on the left side
of the Expression Pedal. When pushed to the left by
the inside of the right foot, the Glide Control will
“flat’’ the entire instrument about a half tone and
stop the vibrato almost completely. And, when the
Glide Control is released by the foot, the instrument
will ‘‘glide’’ back to its normal pitch and vibrato as
determined by the stop tabs.
For the best playing technique, the Glide Control
should be pressed with the foot at the exact instant
certain keyboard notes are played—and then released
at once. For example, start using the Glide Control
by trying it with the Trombone 16’ and a Slow-Heavy
Vibrato. Play Tommy Dorsey's familiar ‘I’m Getting
Sentimental Over You"' with ‘‘glide,'’ and you'll be
able to duplicate that well-known trombone ‘‘smear.”'
No other organ can do this!
Also, you can get a realistic string ‘‘glissando”’ by
using the Lowrey Glide Control together with the
String 8’ of the Upper Manual, and the Fast-Heavy
Vibrato. Try Victor Herbert's beautiful “‘Sympathy,”’
or any other of your favorite violin selections. The
Glide Contro! will supply the ‘‘glissando”’ of the
strings. Adding the Manual Sustain will give the
effect of ‘singing strings.”
For Hawaiian guitar effects, you can use the Clari-
net 8’ with a Slow-Heavy Vibrato, the Flutes 8’ or 4’
with a Fast-Heavy Vibrato, or a combination of any
of these tabs, with any Hawaiian selection of your
choice. Be sure to use the Long Manual Sustain and
play in a semi-staccato fashion. Press the ‘‘glide’’
the instant you strike a key. However, use it infre-
quently—do not abuse it by playing most notes with
glide. The realism of this Hawaiian Guitar effect will
amaze you.
Like anything new, a few minutes of practice are
necessary for you to become adept with the Lowrey
Glide Control. As time goes by, however, you will
find more and more uses for it. Of course, your ability
to use it will also improve. To quickly improve your
use of the glide, listen carefully to records, radio and
television. Pay particular attention to the way musi-
cians play their various instruments.
Also, whenever you try these different effects with
Glide Control, be sure to remember that it is impor-
tant to select the correct vibrato. Making sure of this
is just as important as selecting the proper individual
voice tabs on the manual.
15

electrical
information
TUNING
Because
Lowrey’s
electronic
circuits
are
very
stable
and
the
positively
locked
oscillator
system
was
care-
fully
tuned
at
the
factory,
your
Lowrey
Organ
will
probably
never
need
to
be
tuned,
However,
if
a
special
use
requires
a
change
in
pitch
of
the
entire
organ,
such
as
playing
with
a
piano
or
other
instrument
not
using
the
standard
A-440
pitch,
this
can
be
accom-
plished
in
a
few
minutes
with
the
Lowrey.
A
“tuning
wand’
is
provided
on
the
frame
below
the
generator
chassis.
We
recommend
that
you
contact
your
Lowrey
dealer
for
this
service,
Do
not
tune
until
the
organ
has
been
on
for
about
twenty
minutes.
MASTER
VOLUME
CONTROL
located
on
the
Amplifier
(see
fig.
1)
is
used
to
set
the
volume
to
suit
the
room
playing
conditions
(i.e.
size,
absorp-
tion,
etc.).
To
reduce
volume
turn
clockwise.
NEVER
PLUG
THE
ORGAN
INTO
A
DC
OUTLET—
DAMAGE
MAY
RESULT.
The
line
cord
from
the
rear
of
the
Console
MUST
BE
PLUGGED
INTO
STAND-
ARD
110-120
Volt
AC
LINE.
(If
the
power
supplied
in
your
area
is
other
than
110-120
Volt
AC,
50-60
cycles,
be
sure
there
is
a
notice
on
the
back
of
the
Console
that
corresponds
to
your
special
power
re-
quirements.)
Normal
voltage
fluctuations
won't
affect
your
Lowrey,
although
regulation
by
your
electrician
may
be
required
if
voltage
goes
above
125
or
below
100
volts.
check
If
your
Lowrey
Spinet
becomes
inoperative
or
does
not
function
properly,
first
follow
this
simple
step-by-
step
Check
List
before
calling
for
service.
1.
Make
certain
that
the
line
cord
is
plugged
into
live
AC
outlet.
Make
sure
the
wall
receptacle
is
not
faulty.
Hum
from
the
speaker
may
be
reduced
by
reversing
the
line-cord
plug
in
the
wall
outlet.
2. Be sure the “‘Off-On”’ switch is on. Pilot light will
indicate,
but
as
these
occasionally
burn
out,
check
back of console to see if any tubes are lighted.
3. FUSE: There is one fuse for the entire organ. If
pilot
light
and
none
of
the
tubes
are
lighted,
check
for
blown
fuse
on
the
Amplifier-Power
Supply
chassis.
Fuse
is
easily
removed.
Turn
red
insert
counter-
clockwise
with
screw
driver
until
it
comes
out.
The
fuse
can
then
be
pulled
from
the
insert
and
a
new
one
installed.
CAUTION:
Use
only
3.2-Amp
“Slow-blo,”
Type
3
AG
fuse
I>
The
“OFF-ON”
switch
is
located
to
the
rig
ht
of
the
lower
keyboard.
The
near-by
pilot
light
indicates
when
the
organ
is
''On.”'
In
extremely
humid
areas
a
special
heater
may
be
installed
to
protect
against
dampness.
In
order
for
this
heater
to
operate,
keep
the
line
cord
plugged
into
the
wall
outlet
at
all
times—very
little
electricity
is
consumed.
Ifyou
moveto
a
humid
climate,
ask
your
local
Lowrey
dealer
to
install
one
of
the
special
heaters
in
your
Lowrey.
An AUXILIARY SPEAKER JACK is provided in
the center of the amplifier power-supply chassis at
the rear of the organ. Remove the back and you will
see this chassis just above the rear of the pedal keys.
The jack is wired across the output transformer, 8
ohm secondary. It is used for adding an external
speaker—or another amplifier which in turn can drive
an additional speaker or speakers. Impedance match-
ing is not critical for normal use because additional
distortion will not result except at higher output levels.
The power amplifier consists of two push-pull
6L6GB tubes—Maximum signal power output—26
watts. Two 10” PM heavy duty speakers with voice
coil impedance of 8 ohms are wired in parallel to
match the secondary 4 ohm impedance of the output
transformer.
list
4.
At
least
one
white
voice
tab
must
be
‘‘on’’
before
a
manual
will
play.
5.
The
Swell
Pedal
must
be
depressed
to
bring
up
volume.
6.
If
all
of
the
above
have
been
checked
and
Operation
is
still
not
normal
(and
you
are
sure
all
the
tubes
are
in
tight),
there
may
be
a
faulty
tube.
Read
the
following
pages
which
contain
information
on
tube
replacement
or
call
your
dealer
for
service.
7.
The
name
plate
containing
model
and
serial
num-
ber
of
your
Lowrey
Spinet
is
located
on
the
rear
of
the
cabinet
near
the
bottom.
Include
model
and
serial
number
in
any
correspondence.
A
competent
service
technician
should
be
consulted
if
difficulties
persist.
Your
Lowrey
dealer
is
best
qual-
ified
to
handle
this,
although
any
good
radio-televi-
sion
technician
should
be
able
to
handle
necessary
repairs.
Schematic
diagrams
will
be
furnished
to
Owners
upon
request.
Please
send
check
or
money
order
for
$2.00
and
remember
to
include
the
model
and
serial
number
in
any
correspondence.

tube replacement
Past experience has shown us that although many
purchasers of Lowrey Organs have no technical
understanding of the vast field of electronics, they
are able to replace a defective tube. So, this material
has been prepared for those who know something of
the subject.
There are only seven different types of tubes in the
entire Lowrey Heritage Organ. Since they are stand-
ard radio and television tubes in common use every
day, replacements can be purchased at your Lowrey
dealer's or at any radio or TV repair shop.
TONE GENERATORS
After removing the back of the organ you will see a
large chassis containing the 48 tone generator tubes.
(See Figure |) This chassis is divided into twelve
sections, each one of which produces the family of
tones as indicated by the stamping next to the square
metal can. Since, for the purpose of this discussion
these twelve sections are all the same, we will
consider only one.
The tube which produces the highest tone for a
family of notes is in the V-1 socket closest to the
metal can. The next tube in the V-2 socket is locked
to it and produces the tone exactly one octave lower.
Likewise, the next tube in the V-3 socket is locked
to the V-2 tube and produces the tone exactly one
octave lower. The tube farthest from the metal can
(in the V-4 socket) is locked to the third and produces
the lowest tone of the keyboard. Thus, if the tube
nearest the can (V-1) becomes faulty, not only the
tones produced by it but also the lower octavely
related tones will be faulty too.
Here’s how to find a faulty generator tube. Turn on
the Flute 8’, the Melodia 8’ and the Swell Pedal to full
volume. Play all the lower manual keys in suc-
cession
starting
at
the
highest
E
on
the
right—
proceed downward listening carefully for the first
defective tone. Be sure this is the highest defective
tone on the manual. If the tone from the corre-
sponding key on the upper manual is also defective,
a generator tube may have failed.
To locate the ‘faulty tube, refer to the keyboard
chart (Figure Il) and determine in which of the three
groups of keys the highest faulty tone is produced.
If it is V-1, the tube is nearest to the metal can in
that generator section. V-4 is the farthest from the
metal can.
Note: It is impossible to catalogue the many various
effects which can result from a ‘‘defective’’ tube.
The word ‘‘defective’’ merely indicates no sound at
all or some sound other than that which should be
obtained. For example, the tone could be off pitch
or could even be an octave too high.
For
example,
let
us
presume
that
you
have
deter-
mined
the
V-2
tube
in
the
G
generator
to
be
faulty.
To
check
this,
remove
this
tube
and
exchange
it
with
the
V-2
tube
in
the
adjacent
generators
of
A
or
F.
Because
you
know
the
tubes
in
the
A
and
F
sections
are
operating
properly,
any
of
them
can
be
used
for
testing.
Now,
all
G
notes
should
operate
properly
but
the
highest
faulty
tone
will
be
in
the
generator
section
where
the
previously
determined
faulty
tube
has
been
placed.
Remember,
all
48
of
the
6X8
tubes
in
the
tone
generators
are
the
same.
Hint:
When
the
sustain
tabs
are
on,
sometimes
a
tube
may
produce
a
tone
which
plays
quietly
at
all
times
even
when
no
key
is
depressed.
Determine
the
family
of
the
“‘leaky”’
tone
and
pull
out
the
6X8
tubes
from
this
section
one
at
a
time,
starting
with
the
one
farthest
from
the
metal
can.
The
first
tube
which
silences
the
tone
when
removed,
is
the
one
that
requires
replacement.
You
have
now
learned
how
to
locate
a
faulty
tube
anywhere
in
the
group
of
forty-eight
tubes
in
the
tone
generator
chassis.
If
this
method
does
not
disclose
a
faulty
tube
in
the
generators,
contact
your
dealer
for
service.
QUALITY CONTROL CHASSIS
Next, let us consider the Quality Control Chassis.
This is above the tone generators and to the right as
you face the rear of the organ. It contains five (5)
tubes arranged in a horizontal row. The five tubes in
this chassis have a variety of functions. When one
of these fails, substitutions can be made to locate
the faulty tube. Several types of faults are covered
below to help you find the defective tube.
GROUPS OF NOTES
Depending upon the tabs used, if an entire keyboard
does not respond or if a group of consecutive keys
produces no tone or a defective tone, the faulty tube
in all probability is in the sockets V-49, V-50, V-51,
V-52, V-53 (all 6SL7 or 12AX7) or V-58 (6X8).
Temporarily substitute a new 6SL7 tube in V-49,
V-50, V-51, V-52 and V-53 until fault is corrected.
The tube last removed is probably defective.
If the 16-foot voices fail to sound in the lowest
octave of the upper manual, or if the lowest 8 keys of
the lower manual fail to respond, the fault in all
probability is V-58 (6X8). Exchange the tubes in V-57
and V-58—if the manuals then operate correctly, the
tones may not operate properly and a new 6X8 (V-57)
will be required.

7 T= aati aks eer
UPPER
MANUAL
KEYBOARD
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CHART
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ss
FRGHAH
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FAGHAF
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FAGHAY
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FEGE
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:
fier
for
all
stops.
Exchange
this
tube
with
v-51
and
VIBRATO
if
the
manuals
play
correctly,
the
tube
now
in
V-51
If
the
vibrato
becomes
defective
on
all
notes
of
the
organ,
the
offending
tube
could
be
in
V-51
or
V-54.
V-51
may
be
exchanged
with
V-50,
V-54
may
require
a
new
tube
replacement
(12AX7).
Then,
the
faulty
tube
in
V-50
should
produce
certain
defects
on
the
manuals
and
should
be
replaced.
If
the
vibrato
is
defective
on
only
one
family
of
tones
(all
Fs
or
all
Gs)
the
tube
in
V-1
of
that
genera-
tor
may
be
faulty.
Exchange
it
with
the
tube
in
V-1
of
another
generator
and
the
faulty
vibrato
should
move
to
the
other
family
of
notes.
PEDAL KEYBOARD
lf the pedal tones lose their volume or become defec-
tive, the fault is probably with a tube in V-53, V-54,
V-55, V-56, or V-57. V-54 and V-55 require new re-
placements as there are no duplicates in the organ.
To check V-56 and V-57, substitute any 6X8 from
the main tone generators.
NOISES, DEAD OR WEAK (ALL STOPS)
V-52 tube on the Quality Control chassis is an ampli-
LOWREY
MODEL DS
LOWREY
is probably defective.
AMPLIFIER-POWER
SUPPLY
CHASSIS
This
chassis
just
above
the
pedal
mechanism
con-
tains
four
tubes.
A
defective
tube
here
will
affect
the
entire
organ
rather
than
any
particular
stop,
group
of
keys
or
a
manual.
NOISES, DEAD OR WEAK
To check V-59, replace it with a new 6SN7 or 12AU7
tube.
V-60 and V-61 are the power output tubes (6L6GB).
Since they work together, to test these tubes, a new
tube should be tried in each of these sockets.
The 5U4 tube in the V-62 socket is the rectifier and
since only one of these is used in the instrument, a
test would have to be made with a new tube.
FUSES BLOW
If the fuse blows, in all probability the offending tube
is the 5U4 in V-62. However, there is always the lesser
possibility that either 6L6GB tube in the V-60 and
V-61 sockets could be causing the trouble.
HERITAGE—REAR VIEW
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Figure |
AMPLIFIER-POWER
SUPPLY
MASTER VOLUME CONTROL
{TURN CLOCKWISE TO
DECREASE VOLUME)
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QUALITY CONTROL CHASSIS
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