Rodgers 795 User manual

i
TABLE OF CONTENTS
Table of Contents i
Introduction page 1
Features page 2
Turn On/Turn Off page 2
Console Division, Combination Memory and
Piston Locations page 2
Console Display and Menus page 3
Combination Action with Four Memory Levels page 3
–Unlocking a Combination Memory page 4
–Setting the Pistons page 4
–Locking a Combination Memory page 5
Special Feature page 5
–Pedal to Great Piston Coupler page 5
795 User Menu Lists
–795 User Menu Items page 6
–795 MIDI Menu Items page 7
–795 User (Headphone) Menu Items page 8
Couplers page 9
Reversibles page 9
Expression Shoes page 9
Great/Pedal Unenclosed page 9
All Swells page 9
Crescendo page 9
–Unlocking the Crescendo page 10
–Setting the Crescendo Sequence page 10
–Locking the Crescendo page 11
–Restoring the Factory Crescendo Setting page 11
Tremulants page 11
–Adjusting the Tremulant Settings page 12
Tutti page 12
–Viewing the Tutti Setting page 12
–Unlocking the Tutti page 12
–Setting the Tutti page 13
–Locking the Tutti page 13
–Restoring the Factory Tutti Setting page 13
Melody Coupler page 13
–Setting the Range of the Melody Coupler page 13

ii
Bass Coupler page 14
–Setting the Range of the Bass Coupler page 14
Transposer page 14
Master Tuning page 14
–Locking and Unlocking the Master Tuning page 15
–Adjusting the Pitch page 15
Temperaments page 15
–Ancient Temperaments: Pythagorean page 16
–Ancient Temperaments: Mean-Tone page 16
–Well Temperaments: Kirnberger page 16
–Well Temperaments: Werckmeister I and III page 16
–Well Temperaments: Young I and II page 16
–Well Temperaments: Equal page 16
–Selecting a Temperament page 17
Digital Dynamic Wind™ page 17
Wind Stabilizer page 17
–Adjusting the Wind Stabilizer page 18
Random Detuning page 18
Expression Range Adjustments page 18
–Setting the Expression Range page 19
Voice PaletteTM page 19
-Accessing the Voice Palette page 20
-Unlocking the Voice Palette page 20
-Locking the Voice Palette page 20
Master Volume Control page 21
–Adjusting the Master Volume page 21
Audio Save page 21
–Saving Audio Control Settings page 21
Stereo Headphone Jack page 21
–Adjusting the Headphone Settings page 21
Auxiliary Inputs page 22
–Adjusting the Auxiliary Inputs page 22
Stereo Line Outputs page 22
–Adjusting the Stereo Line Outputs page 22
Digital Reverberation page 23
–Setting the Reverb Volume page 23
–Setting the Reverb Type page 23
–Setting the Reverb Time page 23
Antiphonal On/Main Off page 24
Pipes page 24
Pipes Off/Ancillary On page 24
Console Lamp Dimmer page 24
–Adjusting Console Lamps page 24

iii
Automatic Shutdown Timer page 25
MIDI (Musical Instrument Digital Interface) page 26
–MIDI Channel Assignments page 26
–Selecting a MIDI Sound page 26
–Previewing Various MIDI Sounds page 26
Roland GS Standard Support page 27
–Setting the GS Variation (Bank Number) page 27
MIDI Sounds in Combination Pistons page 28
–Saving a MIDI Sound in a Combination Piston page 28
Additional MIDI Settings page 28
MIDI Note Velocity page 29
–Setting Fixed Velocity page 29
–Setting Expression Velocity page 29
–Setting Keyboard Velocity page 30
Octave Shift page 30
–Shifting the Octave of a MIDI Sound page 30
MIDI Channel Assignment page 30
–Assigning MIDI Channels page 31
MIDI Save page 31
–Saving MIDI Control Settings page 31
Sustain Switch page 31
Additional MIDI Settings on Combination Pistons page 31
–Saving MIDI Settings on a Combination Piston page 31
Enabling/Disabling MIDI Master Channels page 32
–Enabling or Disabling a MIDI Master Channel page 32
MIDI Stop Changes page 33
–Selecting MIDI Stop Change Settings page 33
–Using Pistons to Control
a Second Rodgers Console page 34
MIDI Local Control page 34
–Enabling or Disabling MIDI Local Control page 34
MIDI Sequencer Update page 34
–Enabling or Disabling MIDI Sequencer Update page 34
MIDI Device ID page 35
–Setting the MIDI Device ID page 35
Saving a Combination Memory page 35
MIDI Connections page 36

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Rodgers 795 Stop Specification page 37
Console Dimensions page 38
Factory Default Combination Settings page 39
–Restoring the Factory Default
Combination Settings page 39
Suggested Registrations page 40
Great Organ page 40
Pedal Organ page 40
Swell Organ page 41
Blank Chart for Favorite MIDI Sounds (Great) page 42
Blank Chart for Favorite MIDI Sounds (Swell) page 43
Blank Chart for Favorite MIDI Sounds (Pedalboard) page 44
Care and Maintenance page 45
–Console and Pedalboard page 45
–Keyboards and Stop Tabs page 45
–Pipes on Pipe-Augmented Instruments page 45
Safety Instructions page 46
Radio and Television Interference Notice (FCC Notice) page 47
Caution Notice page 48
MIDI Implementation Chart page 49

1
INTRODUCTION
Grand, glorious sound is the hallmark of the Rodgers 795. Providing a rich and spacious
ensemble sound complemented by crystal-clear definition, the Rodgers 795 will take you to
new musical heights, while sustaining the tradition of quality, craftsmanship and innovation
you’ve come to expect from Rodgers.
Parallel Digital Imaging (PDI™), Rodgers’ proprietary software-based technology that
has revolutionized the digital organ world, permits each note of every stop of the Rodgers 795
to be individually tuned, leveled and voiced after installation, just like an organ with wind-
blown pipes.
With remarkable flexibility, superior sound and the option of adding real pipes at any
time, the Rodgers 795 is a perfect choice for any home, concert or worship setting.
Built entirely in Oregon by dedicated, expert craftsmen, our consoles are meticulously
hand-crafted of hardwoods and veneers, and are designed to the exacting standards of the
American Guild of Organists.
This manual will help with the exploration of the expansive capabilities and the variety of
features and functions offered by this instrument. As highly sophisticated as the Rodgers 795
is, it's features are easy to use and easy to access, creating a most satisfying musical
experience for the player and listener alike.
The Rodgers 795 is a wonderful example of Rodgers’ commitment to celebrate tradition
while creating the future. From the first notes that sound forth from the Rodgers 795 to the
endless possibilities of sound developed over the years to come, we think you will agree
Rodgers is indeed the sound choice!
Rodgers Simply Sounds Better!

2
FEATURES
To get started, here is a tour of the basic operations of the Rodgers 795:
TURN ON/TURN OFF
To turn the organ on, press the top part of the rocker switch to the left of the coupler
tablets. “RODGERS 795 CLASSIC ORGAN” or your personalized greeting will appear in the
Console Display. The organ will perform a self diagnostic test of its systems within a few
seconds. When completed, the Console Display will read “TRANSPOSER 0”; the Rodgers
795 is now ready to play. To turn the power off, press the lower part of the rocker switch.
CONSOLE DIVISION, COMBINATION MEMORY
AND PISTON LOCATIONS
PEDAL
DIVISION SWELL DIVISION
GREAT
DIVISION
MEMORY LEVEL
PISTONS
M1, M2, M3, M4
CONSOLE
DISPLAY
POWER
SWITCH SELECT
KNOB
AND
ALPHA
DIAL
SET
PISTON GENERAL CANCEL

3
CONSOLE DISPLAY AND MENUS
The Rodgers 795 is equipped with a two-line Console Display window located on the
right stop jamb. This display normally indicates the Transposer setting, and can also be used
to alter many other organist preferences including MIDI settings and Tremulant rate and
depth.
Two controls are used to select and operate the features of the Console Display. The
smaller knob,located near the Console Display, is called the Select Knob and is used to select
different menu items to be changed. When the Console Display reads “TRANSPOSER 0”,
this knob controls the Transposer function. The larger flush dial is called the Alpha Dial, and
is used to change a menu setting which has been selected.
To move to a new menu or to a new setting in the same menu in the Console Display,
hold SET and turn the Select Knob. Note: Once any menu other than the Transposer menu
has been selected, it is no longer necessary to hold SET to select further menus.
The blinking square in the Console Display, called the cursor, indicates the setting which
is currently selected. Rotating the Alpha Dial will change the value of any selected setting.
There are three different menus. The User Menu accesses organ and audio settings such
as, Tremulant settings, Master Volume, and Auxiliary Input controls. This menu is accessed
by holding SET and turning the Select Knob counter clockwise (left) from the Transposer
menu.
The second menu controls MIDI settings and is accessed by holding SET and turning the
Select Knob clockwise (right) from the Transposer menu.
The third menu is similar to the Users Menu, but is only available when headphones are
used. Note: Please refer to the “Stereo Headphone Jack” section.
To return to the Transposer display from any other menu item, simply press General
Cancel.
COMBINATION ACTION WITH FOUR MEMORY LEVELS
The Rodgers 795 features a combination action easily changed by the organist from the
console. The organist can pre-select registrations and make rapid changes in tone color using
this advanced system.
Rodgers’ microprocessor combination action is a specially refined four-memory system.
This effectively multiplies the number of physical pistons on the console by four.
The 10 General pistons simultaneously affect all stops and controls on the Great, Swell
and Pedal. All manual and pedal registrations may be changed by pressing a General piston.

4
There are five Divisional pistons for each manual division. The Great and Swell
Divisionals are operated by pistons located under each respective manual. The Divisional
pistons independently affect all stops and MIDI controls on the Great, Swell or Pedal. Each
division's registration may be changed independently by pressing a Divisional piston.
A combination memory must be unlocked to set pistons. Once the pistons are set, the
combination memory may be locked again to prevent accidental change.
UNLOCKING A COMBINATION MEMORY:
1. Press and hold M1, M2, M3 or M4 located under the Swell manual to the right for
approximately five seconds. “USING INTERNAL MEMORY” appears, followed
by "MEMORY (#) LOCKED".
2. While continuing to hold the memory piston, rotate the Alpha Dial in either
direction until the Console Display reads “MEMORY (#) UNLOCKED.”
3. Release the memory piston. The memory is now unlocked.
SETTING THE PISTONS:
1. Select a memory by pressing M1, M2, M3 or M4. Note: Pistons cannot be set if
the memory is locked. Please refer to the “Unlocking a Combination Memory”
section above.
2. Select the desired stops.
3. Press and hold the SET piston, located under the Great manual to the far left.
General
Pistons
1-10
General
Pistons
6-10
Great
Divisional
Pistons
1-5
Swell Divisional
Pistons
General
Pistons
1-5
Pedal
Divisional
Pistons
1-5

5
4. While holding SET, press the desired combination piston. Then release both
pistons.
LOCKING A COMBINATION MEMORY:
1. Press and hold M1, M2, M3 or M4 for approximately five seconds. “USING
INTERNAL MEMORY” appears in the Console Display first, followed by
“MEMORY (#) UNLOCKED” .
2. While continuing to hold the memory piston, rotate the Alpha Dial in either
direction until the Console Display reads “MEMORY (#) LOCKED.”
3. Release the memory piston. The memory is now locked.
SPECIAL FEATURE - PEDAL STOPS CAN BE SET TO BE CONTROLLED BY
GREAT PISTONS:
PEDAL TO GREAT PISTON COUPLER
This feature allows the Great divisional pistons to also operate the like-numbered Pedal
divisional pistons. When this mode is selected, pressing a Great divisional piston will also
light the corresponding Pedal divisional piston. Also, stops stored on the Great and Pedal
divisional piston may be set by holding SET and pressing a Great divisional piston. To
Change the Pedal to Great Piston Coupler Mode:
•From the Transposer menu display, press and hold SET, then turn the Select knob
counterclockwise to locate the PED TO GT PISTON COUPLER menu item. The
SET piston may be released once the Transposer menu item is no longer displayed.
PED TO GT PISTON
COUPLER
•Use the Adjust dial to change the setting to ON or OFF. The setting will be
remembered when the organ is turned off. (The default setting is OFF.)
•Press General Cancel to return to the Transposer display.

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MASTER TUNING
²²²²²²²²²²²²²
This menu item appears
when MASTER TUNING
is ADJUSTABLE or
MANUAL ADJ ONLY
AUX
²²²²²²²²²²
OFF, -31.25 THRU 6.25dB
WIND STABILIZER
OFF, ½, ON
MASTER VOLUME
-20.00 thru 5.00 dB
REVERB VOLUME
OFF, -31.25 thru 6.25 dB
TRANSPOSER
²
TUNING A=
²²²
.
²
427.7 thru 452.8
(± ½ SEMITONE)
TRANSPOSER
4b thru 4#
795 User Menu Items
Hold SET, turn SELECT knob
counterclockwise.
LINE OUT GAIN
0 thru 18.75 dB
²²
MINIMUM
EXPR:
²²²²²²²²
PD
GT
SW
²² ²²²²
TREM
RATE:
²
DEPTH:
²
GT MAIN
GT SPARE
GT FLUTE
GT FLUTEVIB
SW MAIN
SW SPARE
SW FLUTE
SW FLUTEVIB
-9 thru 9
-9 thru 9
TEMPERAMENT
²²²²
EQUAL
MEAN-TONE
PYTHAGOREAN
KIRNBERGER
WERCKMEISTER I
WERCKMEISTER III
YOUNG I
YOUNG II
LOCKED A=440
ADJUSTABLE
MANUAL ADJ
ONLY
PPPP
PPP
NORMAL
CONSOLE LAMPS
²²²²
BRIGHT
DIM
REVERB TYPE
²²²²
REVERB TIME
²²²²
AUX INPUTS TO
ANTIPH CTLS
OFF, ON
AUX MAIN
BALANCE
-10.00 thru 10.00 dB
AUX ANT VOLUME
OFF, -31.25 THRU
6.25dB
AUX ANT
BALANCE
-10.00 thru 10.00 dB
AUX BASS
-14.00 thru 14.00 dB
AUX TREBLE
-14.00 thru 14.00 dB
AUX GAIN BOOST
0 thru 18.75 dB
AUX MAIN
VOLUME
OFF, -31.25 THRU
6.25dB
Use the
ALPHA DIAL
to select these
menu items.
ROOM1
ROOM2
ROOM3
HALL1
HALL2
SHORT
NORMAL
LONG
VOICE PALETTE
(UN) LOCKED
VOICE PALETTE
MENU
PED TO GT PISTON
COUPLER
²²²²
ON/OFF

7
TRANSPOSER
²
MIDI
²² ²
CH
²
VEL :
²²² ²²²²
MIDI STOP CHANGES
RCV :
²²²
SEND :
²²²
OFF
STP
PST
S&P
OFF
STP
PST
S&P
MIDI LOCAL
CONTROL :
²²
ON, OFF
MIDI SEQUENCER
UPDATE
²²
ON, OFF
MIDI DEVICE ID
²²
1, 17 THRU 32
795 MIDI Menu Items
Hold SET, turn SELECT knob
clockwise.
UP 2
UP 1
NORM
DN 1
DN 2
MIDI
²²
MASTER
CHNL :
²²²²
GT
SW
PD
OFF
RCV ONLY
SEND ONLY
SEND & RCV
MIDI
²² ²
CH
²
PGM=
²²²
VAR=
²²²
GTA
GTB
SWA
SWB
PDA
PDB
OFF, 0 thru 127OFF, 1 thru 128
FM EXP, 1 thru 128
1 thru 16
(GT ONLY)
SEQ PORT MODE
²²²²²²²²
MIDI
PC-1
PC-2
COMPUTER
MIDI KEYBOARD
VELOCITY :
²²
LIGHT
NORMAL
HEAVY

8
795 User (Headphone) Menu Items
Hold SET, turn SELECT knob
counterclockwise.
HEADPHONE
TREBLE
-14.00 thru 14.00 dB
HEADPHONE BASS
-14.00 thru 14.00 dB
HEADPHONE
BALANCE
-10.00 thru 10.00 dB
HEADPHONE
VOLUME
OFF, -67.50 thru 11.25 dB
HEADPHONE
²²²²²
²²²²
dB
NOTE:
Headphones must be plugged in for these menu
items to appear. See previous page (USER MENU)
for items not related to use of headphones.
Use the
ALPHA DIAL
to select these
menu items.

9
COUPLERS
The Rodgers 795 has intermanual couplers, which enable stops of one division to be
played on another keyboard or pedalboard. Examples of intermanual couplers are SWELL
TO GREAT 8', SWELL TO PEDAL 8' and GREAT TO PEDAL 8'. These couplers are
located on the lighted tabs above the keyboards.
REVERSIBLES
The Rodgers 795 is equipped with reversible pistons. These control certain couplers,
stops and functions. Press the piston to turn on, and press again to turn off. All reversible
pistons light when engaged.
EXPRESSION SHOES
The Rodgers 795 has two expression shoes. The left expression shoe controls the voices
in the Great and Pedal divisions, and the right expression shoe controls the voices in the Swell
division. (See also CRESCENDO below).
GREAT/PEDAL UNENCLOSED
In most classical pipe organs, the Great and Pedal divisions are unenclosed and are
unaffected by expression shoes. To accomplish this, the Great/Pedal Unenclosed piston may
be selected.
When the GT/PD UNENCL piston is lit, the Great and Pedal divisions remain at
maximum volume regardless of the position of the Great/Pedal expression shoe. The Swell is
still expressed with the right expression shoe.
When the CRESC and GT/PD UNENCL pistons are engaged simultaneously, the Swell is
expressed from the left expression shoe, and the right expression shoe becomes a Crescendo
pedal. The Great and Pedal divisions remain unexpressed and at maximum volume.
ALL SWELLS
For ease of expression control using only one shoe, press the CRESC piston. When it is
lit, the Great, Pedal and Swell divisions are expressed with the Great expression shoe.
CRESCENDO
The Swell expression shoe can become a crescendo shoe when the crescendo piston is
engaged. The crescendo piston (CRESC) is located to the left of the General Cancel piston.
When the CRESC piston is lit, the right expression shoe will gradually add a predetermined
selection of stops as the shoe is pressed forward. It does not affect the stops already in use, but
merely adds to them. Stops added by the Crescendo shoe do not light.

10
There is a lighted Crescendo/Tutti indicator located on the stop rail to the far right, with
eight lighted green segments to indicate the progressive stages of the Crescendo as the pedal is
depressed.
The selection of stops to be added by the Crescendo shoe may be set by the organist.
The Crescendo must first be unlocked to set a crescendo sequence. Once the sequence is
set, it may be locked again to prevent accidental change.
UNLOCKING THE CRESCENDO:
1. Press and hold the CRESC piston for approximately five seconds until
“CRESCENDO LOCKED” appears in the Console Display.
2. While continuing to hold CRESC, rotate the Alpha Dial either direction until the
Console Display reads “CRESCENDO UNLOCKED.”
3. Release the CRESC piston. The Crescendo is unlocked.
SETTING THE CRESCENDO SEQUENCE:
1. Press and hold the SET piston.
2. Press the CRESC piston. The piston flashes, and the Console Display reads:
CRESC SET MODE
STD STAGE 1
The stops and couplers currently set on stage one of the 63 stages in the Crescendo
sequence turn on.
3. The current sequence may be viewed by advancing through the stages one at a time
using the Alpha Dial. At each stage, the stage number (1 to 63) is indicated in the
Console Display, and the stops and couplers set at this stage turn on.
4. To add a stop to the sequence, go to the stage where the stop is to be added, turn
the stop on, and press SET. More than one stop may be added on the same stage.
5. To delete a stop, go to the first stage in which the stop turns on, turn the stop off,
and press SET.
6. Each stop can be turned on at any stage and turned off at any later stage. As an
example, assume the GREAT FLUTE CELESTE II is to turn on at stage 1 and off
at stage 25. Go to stage 1, turn on the GREAT FLUTE CELESTE II, and press
SET. Then go to stage 25, turn off the GREAT FLUTE CELESTE II, and press
SET.
7. To clear the entire Crescendo sequence (stages 1 through 63), hold SET and press
General Cancel (0). This also resets the current stage number to 1 so that a new
sequence can be entered.

11
8. When building a completely new sequence, it is advisable to first write the new
sequence down without numbers, then assign stage numbers from 1 to 63 to each
stop or group of stops in the sequence. Sometimes there are more stages than stops
in the sequence, so it is necessary to skip some stages to make the sequence end at
or near stage 63. If this is not done, the sequence ends before the Crescendo Pedal
is fully depressed.
9. To exit the “CRESC SET MODE” menu at any time, press General Cancel. Any
changes in the sequence made up to this point are saved.
Note: If the original factory setting is desired, please refer to the “Restoring the Factory
Crescendo Setting” section below.
LOCKING THE CRESCENDO:
1. Press and hold the CRESC piston for approximately five seconds until
“CRESCENDO UNLOCKED” appears in the Console Display.
2. While continuing to hold CRESC, rotate the Alpha Dial either direction until the
Console Display reads “CRESCENDO LOCKED.”
3. Release CRESC. The Crescendo is locked.
RESTORING THE FACTORY CRESCENDO SETTING:
1. Press and hold the CRESC piston for approximately five seconds. The Console
Display reads “CRESCENDO LOCKED” or “CRESCENDO UNLOCKED”,
change to “CRESCENDO UNLOCKED.”
2. While continuing to hold CRESC, press and hold SET for an additional five
seconds. The Console Display reads “CRESCENDO FACTORY DEFAULT”.
3. Release both pistons.
TREMULANTS
Tremulants create a change in pitch (sharp and flat), amplitude (volume) and timbre (tone
quality). The use of the tremulant adds warmth to solo or small ensemble combinations. It is
not common to use tremulants in larger classical ensembles. In some romantic ensembles,
tremulants are used judiciously. In some gospel and evangelical musical traditions, tremulants
with a faster and deeper excursion are frequently used.
There are two types of tremulant controls on the Rodgers 795. The Divisional tremulants
(Great and Swell) affect only the stops in the respective division. There is one General
tremulant, the FLUTE II (FLT TREM II piston) tremulant, which affects all manual flute stops
simultaneously.
All tremulants may be individually adjusted for rate and depth by performing the
following procedure:

12
ADJUSTING THE TREMULANT SETTINGS:
1. Starting from the TRANSPOSER display, press and hold the SET piston.
2. Turn the Select Knob counter clockwise (left) until the Console Display reads:
GT MAIN TREM
RATE 0 DEPTH 0
3. Turn the Select Knob until the cursor is on the tremulant name. Note: Please refer
to the “795 User Menu Items” section for a list of tremulant names.
4. Rotate the Alpha Dial until the Console Display reads the tremulant to be adjusted.
5. Turn the Select Knob until the cursor is on the rate.
6. Rotate the Alpha Dial until the Console Display reads the desired tremulant rate.
Note: The range is from -9 to +9. The rate setting may be previewed by selecting a
corresponding stop and playing a note while the adjustment is made.
7. Turn the Select Knob clockwise to move the cursor to Depth, then adjust as with
the Rate.
TUTTI
There are times when a full organ registration is needed immediately. The Tutti on the
Rodgers 795 can be set with any combination of stops. Press the TUTTI piston to access the
Tutti combination. These pistons are reversible, so simply press again to cancel. When Tutti
is in use, the top four segments of the Crescendo/Tutti indicator light red. The
Crescendo/Tutti indicator is located on the stop rail to the far right. Stops and couplers set on
Tutti add to the registration selected by the knobs/tabs, but do not light the additional stop
controls.
VIEWING THE TUTTI SETTING:
1. Press and hold the TUTTI piston or toe piston.
2. While holding the TUTTI piston, press the SET piston. The stops of the Tutti
setting light.
Note: Tutti cannot be set unless it is unlocked.
UNLOCKING THE TUTTI:
1. Press and hold the TUTTI piston for approximately five seconds until “TUTTI
LOCKED” appears in the Console Display.
2. While continuing to hold TUTTI, rotate the Alpha Dial either direction until the
Console Display reads “TUTTI UNLOCKED.”
3. Release the TUTTI piston. The Tutti is unlocked.

13
SETTING THE TUTTI:
1. Select the desired stops.
2. Press and hold the SET piston, and press the TUTTI piston. The Tutti is set.
LOCKING THE TUTTI:
1. Press and hold the TUTTI piston for approximately five seconds until “TUTTI
UNLOCKED” appears in the Console Display.
2. While continuing to hold TUTTI, rotate the Alpha Dial either direction until the
Console Display reads “TUTTI LOCKED.”
3. Release TUTTI. The Tutti is locked.
RESTORING THE FACTORY TUTTI SETTING:
1. Press and hold the TUTTI piston for approximately five seconds.. The Console
Display reads “TUTTI LOCKED” or “TUTTI UNLOCKED”. Change to
"UNLOCKED".
2. While continuing to hold TUTTI, press and hold SET for an additional five
seconds. The Console Display reads “TUTTI FACTORY DEFAULT”.
3. Release both pistons.
MELODY COUPLER
The Melody Coupler (MELODY) is located on lighted reversible piston, and lights when
it is engaged.
When MELODY is lit, any selected stop or MIDI voice in the Swell division sounds from
the highest key being played on the Great manual. This allows a solo melody and an
accompaniment to be played on the same manual.
In its default setting, the Melody Coupler affects keys 25 through 61 on the Great manual.
The lower end of its range is programmable and may be extended down to key 13 or up to key
49.
Note: The Melody Coupler can also be set in General combination pistons.
SETTING THE RANGE OF THE MELODY COUPLER:
1. Press and hold the SET piston, and press MELODY which begins flashing.
2. Release the SET piston.
3. While the Melody piston is flashing, press a key which corresponds to the lowest
note the range is to extend. Any note from key 13 to key 49 may be selected.
After the selected key has been pressed, the Melody Coupler turns off. Note: When
a key is pressed to set the range, no sound is heard even if stops are on, so no
disturbance is made if programming during a performance.

14
4. To use the new range, press MELODY. This range is saved when the organ is
turned off.
BASS COUPLER
The name of this feature is derived from the historical term “Basso Continuo” meaning
throughbass. When the Bass Coupler is engaged, it will light. Any selected stops or couplers
in the Pedal division will sound from the lowest key being played on the Great manual. This
provides a pedal bass sound without actually playing the pedalboard. The Bass Coupler
(BASS) is located on a lighted reversible piston.
In the default setting, the Bass Coupler affects keys 1 through 24 of the Great manual, but
its range is programmable up to key 32 (top of the pedalboard range).
SETTING THE RANGE OF THE BASS COUPLER:
1. Press and hold the SET piston, and press the BASS piston which begins flashing.
2. Release the SET piston.
3. While BASS is flashing, press a key which corresponds to the highest note the
range is to extend. Any note from key 1 to key 32 may be selected. After the
selected key has been pressed, BASS turns off. Note: When a key is pressed to set
the range, no sound is heard even if stops are on, so no disturbance is made if
programming during a performance.
4. To use the new range, press BASS. This range is saved when the organ is turned
off.
Note: The Bass Coupler can only be set in General combination pistons.
TRANSPOSER
The Transposer is the default menu setting in the Console Display. Turning the Select
Knob while “TRANSPOSER 0” is displayed lowers the pitch of the organ up to four
semitones (half steps) and raises the pitch up to four semitones. The Transposer returns to “0”
when General Cancel is pressed. Note: In order to select menu items other than the
Transposer, it is necessary to first hold SET, and then turn the Select Knob.
MASTER TUNING
The Rodgers 795 can easily and quickly be tuned to a piano or musical instrument not at
standard concert pitch (A=440.0). The range of the Master Tuning is one-half semitone sharp
or flat.
If the instrument has been augmented with pipes, the Master Tuning feature is used to
bring the electronics in tune with the pipes. The pitch will return to A=440.0 when the organ
is turned off. Adjustments to the tuning cannot be made unless the Master Tuning is
unlocked.

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UNLOCKING THE MASTER TUNING:
1. Press and hold the SET piston.
2. Turn the Select Knob counter clockwise (left) until the Console Display reads:
MASTER TUNING
LOCKED A=440.0
3. Rotate the Alpha Dial until the Console Display reads “ADJUSTABLE” or
“MANUAL ADJ ONLY”.
4. Press General Cancel to return to the Transposer menu. Note: The Console
Display reads “TRANSPOSER 0 TUNING A=440.0” (default setting) when the
Master Tuning is unlocked.
ADJUSTING THE PITCH:
1. Make sure the Master Tuning is unlocked.
2. The Console Display reads:
TRANSPOSER 0
TUNING A = 440.0
3. Rotate the Alpha Dial to adjust the tuning.
Note: When the organ is turned off, the tuning will return to the default setting
(A=440.0).
TEMPERAMENTS
In recent years, there has been a renewed interest in authentic interpretation of organ
literature written before the adoption of Equal Temperament tuning. Until the middle of the
18th century, the relative pitches of the notes of the scale were chosen to favor music written
in key signatures with few sharps or flats; more remote keys produced varying degrees of
aural distress. Many composers of the day utilized moderately out of tune intervals to evoke
momentary tension to the listener. With the adoption of the Equal Temperament (“Well-
Tempered”) tuning system, almost universal today, all keys became equally out of tune, and
the intentions of these earlier composers were lost, to some degree.
The Rodgers 795 offers a choice of eight temperaments: Equal, Mean-Tone, Kirnberger,
Werckmeister I, Werckmeister III, Young I, Young II and Pythagorean. This selection of
temperaments allows the organist to hear these historical works as their composers heard
them, or to explore the application of unequal temperament to new music.

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Ancient Temperaments
Pythagorean: Pythagoras (582-500 B.C.) was a brilliant Greek
theorist and mathematician. The Pythagorean temperament is
characterized by pure fifths and fourths. The Pythagorean theory
founded a diatonic scale which served as a model throughout the
Middle Ages.
Mean-Tone: Mean-Tone temperament improves on the
Pythagorean tuning by slightly contracting each of the four fifths
needed to generate a major third. Major thirds and in-tune fifths
are slightly narrow, and the differences between the major and
minor seconds are smoothed out. Many artists now prefer Mean-
Tone temperaments when performing 15th through 17th century
repertoire.
J.S. Bach’s Well Tempered Clavier, written in 1722 and 1738-42, is a collection of 24
paired preludes and fugues written in every major and minor key. The title refers to the use of
a temperament in which all keys are satisfactorily in tune, but not necessarily an absolutely
equal temperament.
Well Temperaments
Kirnberger: Johann Philipp Kirnberger (1721-1783) was a German
composer and pupil of Bach from 1739-41. His temperament
favored pure fifths, as in the Pythagorean model, but performance
was improved in many keys.
Werckmeister I and III: Andreas Werckmeister experimented with
temperaments in the latter part of the 17th century. In
Werckmeister I he further refined the Mean-Tone temperament. In
Werckmeister III, four tones are practically tuned identical to Equal
Temperament (C, D#, F# and A).
Young I and II: Young Temperaments offer further refinements to
the Mean-Tone model, except with slightly higher pitched sharps.
Equal: Equal Temperament is the modern standard which utilizes a
succession of 12 semitones of equal size, allowing performance in
all keys successfully. The fifths are slightly narrowed and the
upward thirds are considerably sharp, but unlimited modulation
from key to key is possible.