Rodgers 885 User manual

RODGERS INSTRUMENTS LLC

RISK OF ELECTRIC SHOCK
DO NOT OPEN
A TIENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
~''''''' ':0. ".\.,\.'\.'\.,'.'. X'.l':O.~:- :-. ". ...' :-.''"="-''' ....._..._, .. ,,....._.._..._,-.;..,, ,, ,»:O..'X' :O. '\.'\.':o-.''' ''N' .:-. ''.':'!"X':O.':O.» :O;>o!";> ;-;-,:. :- ,:.;-:-.,,,:-;-;-;-;-;-;-;:..':'»:-.':O.. ' :>.l':-;..,,,, .. »:o;.~
WARNING:
TO REDUCE THE RISK OF
FIRE OR ELECTRIC
SHOCK, DO NOT EXPOSE
THIS APPLIANCE TO RAIN
OR MOISTURE.
PATENTS
G.B. 1312161
F.R.
G. 22 02 658
CANADIAN 951550
(1974)
~ ~
~ CAUTION: TO REDUCE THE RISK OF ~ The lightning flash with arrowhead symbol, within
~ ELECTRICAL SHOCK: ~ an equilateral triangle,Js intended to alert the user
~ ~ to the presence of uninsulated "dangerous voltage"
~ ~ within the product's enclosure that may be of
~ DO NOT REMOVE COVER OR BACK. ~ sufficient magnitude to constitute a-risk of electrical
s ~
~ ~ shock to persons.
~ ~
~ NO USER-SERVICEABLE PARTS INSIDE. ~ The exclamation point within the equilateral triangle
s ~
~ ~ is intended to alert the userto the presence of
~ REFER SERVICING TO QUALIFIED ~ important operating and maintenance (servicing)
~ SERVICE PERSONNEL ~ instructions in the literature accompanying the
~ · ~ product.
~ ... :-. ...... :-. ............... :-. ... :-. ' ;o:-. ' :O.".':O.l':0..'\'1':0:0.''"":-. " .l'!>.' » »:-:-:-.':>..'1.''1':-. ' '' ''' ' .. :-.' ....... :-:-:-:-. .. :-»;-.'\":'>:':0~ ..... :-:-:-:-:-.-.:-:-:-:-:-:-:-:- :- ».\. ' !" .l' .l'!":-.'-;-:•:-:-:-:-:-.':-:-:-:-.':-:-.':-:0.':-:0.. " ~
NOTICE TO USERS
Information in this document is subject to change without notice. No
part of this manual may be translated into any language, stored in a
retrieval system, reproduced or transmitted in any form or by any
--- means, electronic or mechanical, including photocopying and-reeording,
for any purpose without the express written permission of
Rodgers
Instrument Corporatio. n.
ROD< RODGERS INSTRUMENTS LLC ON
l300 N.E. 25th Avenue
Hillsboro, Oregon 97124
Tel: [phone] •Fax :(~03)681-0444
RODGERS CANADA
5480 Parkwood Way
Richmond, B.C. V6V 2M4
[phone]
©Copyright 1992, Rodgers Instrument Corporation . All rights reserved. Printed in the United States of America.
Rodgers® Classic Organs"' , Parallel Digitallmagi n9™, PDI"' technology and Rodgers DVM'M (Digital Vo i ce Module) are trademarks of Rodgers
Instrument Corporation.

SAFETY INSTRUCTIONS
INSTRUCTIONS PERTAINING TO A RISK OF FIRE,
ELECTRIC SHOCK OR INJURY TO PERSONS
IMPORTANT SAFETY INSTRUCTIONS
WARNING: When using this instrument, always follow basic precautions, including the following:
1. Read all the instructions before using, adjusting or
repairing this instrument.
2. To reduce the risk of injury, supervise children
closely when they are around the instrument.
3. Use this instrument only
in the manner
recommended by Rodgers Instrument
Corporation.
4.
Do not use this instrument nearwater, for
example, near a swimming pool or a damp/wet
room.
5. Use of this instrument, either alone
or in
combination with an amplifier and headphones or
speakers, may be capable of producing sound
levels that could cause permanent hearing loss.
DO NOT operate for a long period
of time at a
high volume level or at a level that is
uncomfortable. If you experience any hearing
loss or ringing in the ears, you should consult an
audiologist.
6. Locate the instrument so its position does not
interfere with its properventilation.
7. Locate the instrument away from heat sources
such as radiators, heat registers orother products
that radiate heat directly onto the instrument.
8. Protect the instrument from dust as much as
possible.
9. Connect the instrument to a power source only of
the type described
in the operating instructions or
as marked on the instrument. Do NOT attempt
to
defeat the grounding connection of the three-
prong attachment plug. This is a safety feature. If
you are unable to insert the plug into the outlet,
contact an electrician to replace your obsolete ·
outlet. Do NOT defeat the safety purpose of the
plug.
10. Unplug the power cord of the instrument from the
power source when leftunattended for a long
period of time.
11. Do not walk on or place objects on top of the
powercord.
12. Do not pull the cord to unplug. Hold the plug
when unplugging from the power source.
13. When setting up with other instruments or
peripherals, follow the procedures in accordance
with Rodgers' instructional manual.
14. Take care that objects do not fall or liquids spill
into the instrument.
15. Service the instrument with qualified service
personnel when:
a. The power cord or plug has been damaged.
b. Objects have fallen or liquid has spilled into
the instrument.
c. The instrument has been exposed to rain or
otherweather damage.
d. The instrument does not appear
to operate
normally orexhibits a marked change in
performance.
e. The instrument has been dropped
or the
enclosure has been damaged.
16.
Do not attempt to service the instrument beyond
that described
in the user maintenance or
technical service manuals. Refer all other
servicing
to qualified technical service personnel.
WARNING: THIS INSTRUl'viENT MUST BE EARTII GROUNDED.
You must GROUND instruments equipped with a TYPE AC, 3 WIRE GROUND PLUG.
SAVE THESE INSTRUCTIONS
i

FCC NOTICE
Radio and Television Interference
The Rodgers Classic Organ uses and generates small amounts of radio-frequency
(RF) energy. The instrument complies with the limits set for Class A and Class B
computing devices. FCC Rules, Part 15, Subpart J define the limits for radio and
television interference in a residential installation.
Follow the installation and the use instructions in this manual, or the instrument
could potentially cause interference with some radio or television reception. In
the unlikely event this occurs, we encourage the user to try the following
corrective
measures:
./ Turn the instrument OFF to see if it is the actual source of the
interference.
Disconnect the peripheral devices and their input/ output
cables one at a time. If the interference stops, it is caused by
the peripheral device or its 1/0 cable.
Try coiling and uncoiling the ins~ment's power cord in
different ways.
______ ./ ~ Connect the instrument's ~ power _ cord ~ to a-power-outlet on a
11
different circuit.
Move
the instrument farther away from the radio or television
receiver.
Turn the radio or television receiver until the interference
stops.
Connect the radio or television receiver to-a different power
circuit.
Reorient
or move the receiver antenna farther away from the
instrument. Consider installing a rooftop antenna with coaxial
cable lead-in
between the antenna and receiver.
Consult the nearest Rodgers Classic Organ dealer for more
information if the above corrective measures don't remove the
interference.

Table of Contents
CAUTIONS and Notice to Users
Safety Instructions
FCC Notice
Table
of Contents
Overview of the Cambridge 885
Features
Tum On/fum Off
Divisions
Selecting
or Retiring a Stop
Four Memory Combination Action (Pistons)
Setting the Pistons
Couplers
Reversibles
Tremuhints
Tutti
Viewing What is Set on Tutti
Setting a Tutti
Crescendo and Orchestral Crescendo Pedal
Setting the Standard Crescendo
Setting the Orchestral Crescendo
Expression Pedals
Positiv Unenclosed
Great
to Swell Expression Coupler
Bass Piston
Setting the Range
of the Bass Piston
Melody Piston
Setting the Range
of the Melody Piston
Tuning Knob
Random Detuning
Temperaments
Reverberation
Transposer
Headphone Jack
Zimbelstem
Antiphonal On/Main
Off
Rodgers Hand-Crafted Pipes
Pipes Off/Ancillary On
Lamp Intensity Control
Automatic Shutdown Timer
inside cover
i.
ii
111
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13
111

iv
Rodgers Digital Dynamic Wind
Wind Stabilizer
Tremulant Adjustments
Festival Trumpet Options
Console Menu Display Chart
MIDI (Musical Instrument Digital Interface)
Sending a Program Change
Expression/Velocity Mode Toggle
Setting MIDI Default Velocity
Channel Reassignment
Octave Transpose
Saving Coupler Parameters on Combination Pistons
Enabling/Disabling MIDI Master Channels
MIDI Stop Changes
Saving a Combination Memory
MIDI Connections
Sustain Switch
Roland GS Standard Support
MIDI Device ID
Rodgers Personal Memory Card
Storing Crescendo Sequences and Tuttis on the
Personal Memory Card
Storing Organist Settings on the Personal Memory Card
Personal Memory Card Folders
Personal Memory Card Locking
Using a Personal Memory Card on other Rodgers Organs
Re-Initializing a Personal Memory Card ·
Replacing the Personal Memory Card Battery
Specifications
Suggested Registrations
Locking
~r Unlocking Combination Actions, Crescendos or Tutti.
Restoring the Factory Settings
Care
and Maintenance
MIDI Implementation
page 13
page 13
page 14
page 14
page 15
page 16
page 16
page 17
page
17
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page 18
page
18
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page 49
page
51
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page 53

OVERVIEW OF THE CAMBRIDGE 885
Thankyou for choosing the Rodgers CAMBRIDGE 885. The CAMBRIDGE 885 is the industry's
highest quality church organ in both sound and construction, and will provide many years
of reliable
service.
The CAMBRIDGE 885 is a two-manual chtssical organ that incorporates an eclectic specification
and authentic pipe organ sounds achieved through Rodgers PDI (ParallelDigital Imaging) technology.
In addition to its standard eight-channel audio system, the CAMBRIDGE 885 has provisions for
additional amplification and antiphonal (echo) speaker systems.
The CAMBRIDGE 885 utilizeslighted drawknob and tilt tab stop controls. All traditional couplers
(unisons, subs andoctaves) areincluded, as well as an adjustablecombination action (pistons) with four
memories and many
stand~d reversibles and other functions.
The Rodgers CAMBRIDGE 885 console is constructed
of the finest woods and veneers, suitable in
the most elegant surroundings. It is unsurpassed in beauty and longevity.
Real wind-blown pipe ranks may be added to the Rodgers CAMBRIDGE 885. There are many
configurations available to choose from for expansion
of the organ specification.
TheRodgers CAMBRIDGE 885 is completely voiced and tuned foroptimum tonal authenticity. A
Rodgers factory-trained technician can provide any additional on-site voicing
or finishing that may be
desired.
TheCAMBRIDGE885 offersfull MIDI (Musical InstrumentDigitalInterface) capability, allowing
the organist to control otherMIDI devices (keyboards, sequencers, rhythm units, sound modules, etc.).
MIDI allows the performerfull recording and playback capabilities using an external MIDI sequencer.
Rodgers organs are built in Hillsboro, Oregon, USA. Through the most advanced technology
available, the Rodgers Instrument Corporation, a member
of the Roland Group, delivers proven
reliability, design innovation and a tradition
of musical excellence, marking our position as
The Sound Choice!
1

To get started, here is a tour of the basic operations of the Rodgers CAMBRIDGE 885:
TURN ON/TURN OFF
To tum the organon, turn the key firmly to theright (clockwise) and hold for 1-2 seconds. Release.
Thepowertotheorganison.
To tumthepoweroff,tumthekeytotheleft(counterclockwise)andrelease
after 1-2 seconds.
DIVISIONS
The following groupings of stops (drawknobs) affect the indicated manuals (keyboards)
or pedalboard:
PERCUSSION------------------,
INTERMANUAL COUPLERS--------,
,-----------GENERALS
SWELL ------,.-------,
PEDAL--------,
000000 00 0000000 0
PERSONAL MEMORY CARD SLOT
PEDAL------j
SELECTING OR RETIRING A STOP
Pull the desireddrawknob toward you; itwill light, indicating itis on. Push the drawknob in to tum
off the stop; the light will go off, indicating the stop is off.
2

FOUR MEMORY COMBINATION ACTION
(Pistons)
The CAMBRIDGE 885 features a combination action easily changed by the organist from the
console.
The organist can pre-select favorite registrations and make rapid changes in tone color
using this advanced system. Most pistons will light when pressed.
Rodgers microprocessor combination action is a specifically refined four memory system. This
gives the organist a total
of 40 general combinations (activated by pistons and toe studs) and 20
independent divisional combinations each for the Swell, Great and Pedal. Pedal combinations are
activated by toe pistons only.
fSWELL PISTONS _j, \
\'----
POSITIV PISTONS
GENERAL PISTONS GREAT PISTONS PEDAL PISTONS
"=- ~ ~ eJ l!L!!i!IIJII!iltlrl
1
1 111
1
II ~ ~~ ==
~ SETTING THE PISTONS:
1. Select a memory (one through four) by pushing Ml, M2, M3 or M4. (Note:
A piston cannot be set
if the memory is locked. Please refer to "Locking or Unlocking
Combination Memories, Crescendos
or Tutti" at the back of this manual.)
2. Select the stops desired.
3. Push the
SET piston and hold.
4. While holdingthe
SET piston,pushthe desiredcombinationpiston andthenreleaseboth
pistons.
3

4
COUPLERS
There are two types of couplers on the CAMBRIDGE 885: intermanual and intrarnanual.
~ The intermanual coupler enables stops of one division to be played on
another keyboard or pedalboard. Examples of intermanual couplers are
SWELL TO GREAT 16', SWELL TO GREAT 8' and SWELL TO GREAT 4'.
These couplers are located on the tilt tabs above the Swell manual.
INTERMANUAL
; f
~' Notes . :.; . __
; ;i heard with \
\. .. a· coUpler · ·,·~-:::
added.
Keys played
and heard.
4' coupler
added
~ The intramanual coupler allows stops to be played at a different pitch
level
or levels on the manual where the stop is located.
Examples ofintramanual couplers are SWELL 16' and
SWELL 4'.
(Note:
The 16' coupler is also known as a Sub Octave Coupler,
and the 4' coupler is also known as an Octave Coupler.)
These couplers are located on tilt tabs above the Swell manual.
INTRAMANUAL
:~~
· · ·. ,; ····;.' ; .' ~ :· . :; •. :~·· . '; : }::
. -} (:.. -
}'n~ :u ~ ==~
! f. "; ,.._·;
, .. ;: i ·r Notes 1\
\.'· · ! heard with
,) 16 ' coupler
·"\, added.

REVERSffiLES
The CAMBRIDGE 885 is equipped with reversible thumb and toe pistons. These control certain
couplers, stops and functions. Press the piston to turn on, and press again
to turn off. All reversible
thumb pistons will light (except the zimbelstern) when activated.
TREMULANTS
Tremulants create a change in pitch (sharp and flat) and in amplitude (volume). The use of the
tremulant adds warmth to solo or small ensemble combinations and is useful in gospel and romantic
music. Each manual division has an independent tremulant, affecting only the stops in the division
where that tremulant is located. The FLUTE VIBRATO piston affects all the flute voices on the
manual divisions
of the organ. It is a deeper and faster tremulant than the other tremulants. Each
independent tremulant is adjustable for both speed and depth. Refer to "Tremulant Adjustments" in
this manual.
TUTTI
There are times when a full organ registration is needed immediately. The
CAMBRIDGE 885 is equipped with TUTTI thumb and toe pistons which
can be set with any combination
of stops. Press either piston to turn on
the TUTTI, and press again to turn
it off. This piston and toe stud
are reversible, so simply push again to cancel. When TUTTI is on,
the top four segments
of the Crescendo!futti indicator will light red.
The Crescendo!futti indicator is located to the right
of the tilt tabs above the Swell manual.
~VIEWING WHAT IS SET ON TUTTI:
While holding a TUTTI piston in, press SET piston. To turn off
indicator, press cancel.
~ SETTING A TUTTI:
Select the desired combination. While holding SET in, press the
TUTTI piston. (Note: TUTTI cannot be set unless it is unlocked.
Please refer to "Locking orUnlocking Combination Memories,
Crescendo
or Tutti" at the back of this manual.)
5

CRESCENDO AND ORCHESTRAL CRESCENDO PEDAL
The CAMBRIDGE 885 has a Crescendo Pedal and two Expression Pedals.
The slightly raised pedal on the right is the Crescendo Pedal, which gradually adds a pre-
determined selection of stops as it is pressed forward. The Crescendo Pedal does not affect the stops
already set up on the organ but merely adds to them. Stops added by the Crescendo Pedal do not
light.
Two independent Crescendo sequences are provided. The Standard sequence is available when
the organ is first turned on and anytime the ORCH CRESC piston is unlit. The CAMBRIDGE 885
is also equipped with an Orchestral Crescendo, giving the organist a romantic crescendo sequence
that includes tremulants and celestes. Pressing the ORCH CRESC piston, which is a reversible
piston, causes
it to light and activates the Orchestral Crescendo sequence.
When the Crescendo Pedal
or the Orchestral Crescendo Pedal is in use, the Crescendo{futti
indicator will light
in green segments (from bottom to top), as the pedal is depressed and more stops
are added.
A change in the setting
of either crescendo differing from the sequence set at the factory may be
desired. (Note:
If the original factory setting is ever desired in the future, please refer to the back of
this manual.)
~ SETTING THE SJ' ANDl\RD CRESCENDO:
6
1. Make sure the Standard Crescendo sequence is selected (the ORCH CRESC piston will be
unlit). (Note: The Crescendo cannot be set unless
it is unlocked. Please refer to "Locking
orUnlocking Combination Memories, Crescendo orTutti" at the back of this manual.)
2. Hold SET and press the ORCH CRESC piston. The ORCH CRESC piston will flash, and
the console display will indicate:
,···. r··, r·- ,··- ,···. ,··- r·- "I" "·" ,..., r··. r·-
i.... r::. r:: ~::. i.... ~::. i::: i i·ii...i L.·' r::
,.. -"I" r· ·. , .. - -~- , ... ,, .... r·- ·I
~::• i L.·' ~::• i i"i i.] r:: .i.
The stops and couplers currently set on stage one of the 63 stages in the crescendo sequence
will light.
3. The current sequence may be viewed by advancing through the stages one at a
time using the SELECT knob. At each stage, the stage number
(1 to 63) will be
indicated on the display, and the stops and couplers set on the stage will light.

4. To add one or more stops to the sequence, go to the stage where the stop(s) are o be added,
turn on the stop(s) and press SET.
5. To delete a stop, go to the first stage in which the stop turns on, turn off the stop 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 8' FLUTE CELESTE II is to go on at stage one and offat stage 25. Go to stage
one, turn on the 8' FLUTE CELESTE II and press SET. Then go to stage 25, turn offthe
8' FLUTE CELESTE II and press SET.
7. To clear the entire crescendo sequence (stages 1 through 63), hold SET and press General
Cancel. This will also reset the current stage to number one.
8. When building a completely new sequence, it is advisable to first write the sequence down,
then assign stage numbers from 1 to 63 to each stop
or group of stops in the sequence.
Usually, 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 will
end before the Crescendo Pedal is fully depressed.
9. To exit the Crescendo Set Mode at any time, press General Cancel. Any changes
in the
sequence made
up to that point will be saved.
The CAMBRIDGE 885 is also equipped with an Orchestral Crescendo, giving the organist a
romantic crescendo sequence that includes tremulants and celestes. Pressing the ORCH CRESC
piston, which is a reversible piston, causes it to light and causes the Orchestral sequence to be
activated. A change in the setting of the Orchestral Crescendo may be desired that would differ from
the sequence set at the factory. (Note:
If the factory setting is ever desired in the future, please refer
to the back
of this manual.)
~SETTING THE ORCHESTRAL CRESCENDO:
Select the Orchestral Crescendo using the ORCH CRESC piston (the ORCH CRESC piston
will be lit). Then set the sequence by following steps 2 through 9 from the section "Setting the
Standard Crescendo" above. Note: The Crescendo cannot be set unless it is unlocked. Please refer
to "Locking or Unlocking Combination Memories, Crescendo orTutti" at the back
of this manual.
EXPRESSION PEDALS
The center pedal controls the overall volume of the Swell and Positiv divisions. The left pedal
controls the overall volume
of the Great and Pedal divisions. These pedals are used to give variety
of expression to the music played. Pressing the pedal forward increases the volume; drawing it back
decreases the volume.
7

POSITIV UNENCLOSED
Many traditional pipe organs are tonally designed with the Positiv division non-expressive. On
,. the CAMBRIDGE 885, the Swell and Positiv division voices are normally expressed with the center
expression pedal.
If a more traditional effect is desired by the organist, the Positiv Unenclosed tablet
allows the Positiv division voices to play at full volume, while the Swell remains under expression.
GREAT TO SWELL EXPRESSION COUPLER
The Great to Swell Expression Coupler allows the Great division to be expressed by using the
center expression pedal. The Pedal division remains expressive on the left pedal.
BASS PISTON
Thename of this feature is derivedfrom the ancient term "Basso Continuo,"meaningthoroughbass.
When this reversible piston is pressed, it will light. Any stops
or couplers on in the Pedal division will
soundfrom the lowestkey beingplayedonthe Greatmanual. Thisprovides a pedalbass withouthaving
to actually play the pedalboard with the feet.
Initsnormalsetting, theBASS Pistonaffectskeys 1through24
of theGreatmanual, butitsrange
is programmable. As few notes as 1through 13,
or as many notes as 1through 32 may beprogrammed.
~SETTING THE RANGE OF THE BASS PISTON:
8
1. Hold SET and press the BASS Piston, which will start flashing. ·
2. Release both pistons.
3. While the BASS Piston is flashing, press a key which corresponds to
the highest note the range is to extend. Any note from key
13 to key
32 may be selected. After the selected key has been pressed, the BASS
Piston will shut off. (Note: When a key is pressed to set the range, no
sound will be heard even
if stops are on, so no disturbance will be made
if programming during a performance.)
4. To use the new range, press the BASS Piston. This range will be saved
when the organ is turned off.

MELODY PISTON
When theMelodyPistonispressed, itwill light. Any stop or coupler of theSwelldivisionwill sound
fromthehighestkeybeingplayedontheGreatmanual. Thisallowsa solomelodyandanaccompaniment
to be played from the same manual.
In its normal setting, the MelodyPiston (MEL SW) affects keys 25 through
61 onthe Greatmanual,
but its range is programmable. The range may be extended down
to key 20 or up to key 49.
~SETTING THE RANGE OF THE MELODY PISTON:
1. Hold SET and press the MEL SW Piston, which starts flashing.
2. Release both pistons.
3. While the MEL
SW 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 MEL
SW Piston will shut off.
(Note: When a key is pressed to set the range, no sound will be heard even
if stops are
on, so no disturbance will be made
if programming during a performance.)
4.
To use the new range, press the MEL SW Piston. This range will be saved when
the organ is turned off.
c:
9

TUNING KNOB
The CAMBRIDGE 885 is equipped with a TUNING knob. This allows the entire organ to be
tuned easily and quickly to a piano
or musical instrument not at standard concert pitch (A 440). If
the TUNING knob is pushed in, the organ will remain at standard concert pitch, and turning the
knob will have no effect. To alter the pitch, pull the TUNING knob out until it clicks, then turn the
knob to set the pitch.
If the CAMBRIDGE 885 has been augmented with pipes, the TUNING Knob
can be used to bring the pipes and electronics in tune with each other. The range
of the TUNING
knob is one-halfsemitone sharp
or flat.
RANDOM DETUNING
One of the essential ingredients of pipe organ ensemble arises from the small amount of pitch
error in each pipe. No matter how carefully an instrument is tuned, small changes in temperature
or
humidity will cause the pipes to drift from their original pitches. Reed pipes are especially prone to
drift over time due to "creeping"
of the tuning wire with cyclic temperature variations.
The Random Detuning feature causes selected notes to receive a small amount
of detuning. The
amount
of detuning is chosen at random for each note of each voice; some notes will not be detuned
at all. The number
of notes detuned and the maximum amount of detuning are selected for each
voice to mimic the behavior
of an equivalent pipe set. For instance, reeds will exhibit more pitch
error than flues. Because the detuning is random, there is no degradation
of the overall temperament
of the instrument, and the amount of detuning is no more than one would experience in a recently-
tuned pipe instrument.
This detuning process happens each time the organ is turned on. Once computed, the pitch of
each note remains constant. Thus, the tuning will be a little different, as it would be with a pipe
organ, each time the organ is used.
TEMPERAMENTS
Although most instruments today are tuned in the Equal Temperament system, there has recently
been a renewed interest in historic temperaments and their effects on the music written for organs
employing these temperaments. The CAMBRIDGE 885 provides the organist with a choice
of eight
temperaments: Equal, Kimberger, Werckmeister I, Werckmeister III, Mean-tone, Pythagorean,
Young I and Young
II. Note: Temperaments other than Equal should be used with care, since most
other temperaments are appropriate only for a limited range of music.
To choose a temperament, hold SET and tum the SELECT knob to locate the TEMPERAMENT
menu item. Release the SET piston, and tum the SELECT knob to choose a temperament. The
tuning is altered immediately. The organ will always return to equal temperament when first turned
on.
10

REVERBERATION
The CAMBRIDGE 885 includes an internal acoustic enhancement (reverberation). system. To
enable
or disable this feature, hold SET and turn the SELECT knob to locate the INTERNAL RE-
VERB menu item. Release SET, and turn the SELECT knob to display
ON or OFF.
The REVERB LEVEL control, located on the Connector Panel under the keydesk to the left, is
used to adjust the loudness
of the reverberated sound.
TRANSPOSER
The TRANSPOSER is the default function for the console display and SELECT knob. Turning
the SELECT knob while the TRANSPOSER is displayed will raise
or lower the pitch of the organ
up to four semitones (halfsteps). Many singers need a key change to accommodate their voice
range, making the TRANSPOSER especially useful for accompanying soloists by eliminating the
need to mentally transpose music on a printed sheet into a more suitable key.
HEADPHONE JACK
The CAMBRIDGE 885 has a Headphone Jack located under the keydesk to the left in the
ConnectorPanel. When a set
of headphones is plugged into the jack, the speaker system shuts off,
allowing the organist privacy when playing.
If the organ is equipped with pipes, the pipes will also
shut off. It is recommended that you use stereo headphones with an impedance not less than 8 ohms
(.Q). The Headphone Jack is designed to run only ONE headphone set at a time.
ZIMBELSTERN
The CAMBRIDGE 885 is prepared for a Zimbelstern (bell star). This percussive device is most
often used in bright music
of the Baroque period. The Zimbelstern (ZIMBEL) is activated by an
unlighted reversible piston and toe stud (push
to turn on, push again to turn off).
ANTIPHONAL ON/MAIN OFF
The CAMBRIDGE 885 is prepared with ANTIPHONAL ON/MAIN OFF tablets which can
operate an additional speaker system. An antiphonal speaker system is usually installed at the
opposite end
of the building from the main organ, allowing greater musical flexibility. The AN-
TIPHONAL ON tablet activates this additional speaker system, and the MAIN OFF tablet turns off
the main organ. (Note: If the MAIN OFF tablet is depressed, the ANTIPHONAL ON tablet must
also be depressed
or the organ will not sound through either system.)
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RODGERS HAND-CRAFTED PIPES
All CAMBRIDGE 885 instruments are designed to incorporate from 1 to 19 ranks of pipes.
These pipes are exquisitely built to Rodgers' exacting standards from the finest metals and woods.
Pipe ranks can be included in the specification of the CAMBRIDGE 885 at the time of purchase or
as future additions.
PIPES OFF/ANCILLARY ON
When the CAMBRIDGE 885 is equipped with pipe ranks, certain stops will control pipe voices
and other stops will control electronic voices. There are two reversible pistons affecting the pipe
stops
of the Great/Pedal divisions.
When an
ANCilLARY ON piston is pressed, electronic stops are added to the pipe stops. When
both PIPES OFF and ANCILLARY
ON pistons are pressed, the pipes are silenced and only
electronic stops sound. (Note:
If a PIPES OFF piston is turned on without turning on the
corresponding ANCILLARY
ON piston, the affected stops will not sound at all.)
LAMP INTENSITY CONTROL
The illumination of the drawknob, tilt tab, music rack and pedal lamps is adjusted by a knob on
the right side under the keydesk.
With the knob pushed in (up), turning the knob clockwise will brighten the drawknob and tilt tab
lamps; turning the knob counterclockwise will dim them.
With the knob pulled out (down), turning the knob clockwise will brighten the drawknob, tilt tab,
music rack and pedal lamps; turning the knob counterclockwise will dim them.
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AUTOMATIC SHUTDOWN TIMER
When the organ is on and left unattended, the power will automatically tum off after two hours.
Operating any key or control will reset the timer for another two hours.
Playing the organ from a remote MIDI keyboard
or sequencer will also reset the two-hour
automatic timer.
RODGERS DIGITAL DYNAMIC WIND
Part of the personality of an individual pipe organ relates to the steadiness of the wind supply to
the pipes. Because air is an elastic medium, there is some amount
of "give" in the wind supply of
every pipe instrument. Some organs exhibit more unsteadiness than others, usually according to the
type
of wind regulators used (single or multiple reservoirs, schimmerregulators, etc.). A small
amount
of unsteadiness in the wind helps the listener to identify the sound as that of a wind-driven
instrument, while too much can be distracting, particularly in "lively" music. Certain types
of music,
though, seem to gain charm from a less-than-perfect wind system.
Another characteristic
of pipe organs involves changes in pitch which occur in individual pipes
when playing large numbers
of pipes together. These pitch changes are due both to variations in
wind pressure as the wind demand becomes greater, and to the influence
of the sound from
neighboring pipes. This latter effect is greatest upon large-scale flute voices, and least upon narrow-
scaled string voices. Even though this results in significant detuning, the human ear seems to
perceive instead an increase in ensemble effect.
Rodgers' Digital Dynamic Wind emulates these characteristics by modeling the behavior
of pipe
organ wind regulating devices and the response
of pipes to a slightly unsteady wind supply. Each
organ division has its own "software reservoir," and each voice is programmed to respond to wind
variations in the same way that its equivalent pipe rank
or ranks would respond.
WIND STABILIZER
In order to adjust the behavior of the organ wind system, a WIND STABll.JZER menu item is
provided on the console display. This stabilizer operates in much the same way as does the stabilizer
control provided on some pipe instruments. In the OFFposition, the wind has a noticeable
unsteadiness in the playing
of rapid passages. The 1/2 position reduces this unsteadiness somewhat,
and the
ON position makes the wind steady under all conditions. The position will be remembered
when the organ is turned off.
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TREMULANT ADJUSTMENTS
This feature allows the organist to adjust the speed and depth of each tremulant on the organ.
Selecting this menu item displays the following:
, •. .., •. ·r·,- - r. ; ,-·, ,. L 1 .,-r·,r·r.-1
~ ~ l 1 . ·· r· .::o r 11-1 J. r1 1 r:.c:n
To change the tremulant speed:
1. Hold SET, and tum the SELECT knob to move the cursor to the tremulant name. Each
division has four tremulants: FLUTE, MAIN, FLUTEVIB and SPARE. The FLUTE
tremulant affects all flute voices in the division, while the MAIN tremulant affects non-
flute voices. The FLUTEVIB tremulant is applied to all flute voices when the Flute
Vibrato piston is lit. The SPARE tremulant may have been assigned to one
or more voices
during tonal finishing.
2. Once the division and tremulant have been selected, hold SET, and tum the SELECT knob
to move the cursor to the RATE field.
3. Release the SET piston, and tum the SELECT knob to change the tremulant speed. The
adjustment values range from -9 (slow) to +9 (fast). A value
of zero corresponds to the
speed chosen by the voicer during tonal finishing.
To change the tremulant depth, perform the following steps:
1. Hold SET, and tum the SELECT knob to move the cursor to the DEPTH field.
2. Release SET, and tum the SELECT knob to change the tremulant depth. The range
of
values is -9 (shallow) and +9 (deep).
Any changes made to the tremulants from this menu item will be retained when the organ power
is turned off. FESTIVAL TRUMPET OPTIONS
This feature allows the organist to select from two different Festival Trumpet voices through a
console display menu item. One voice (jff) is intended for use in single-note solos above full organ,
while the alternate voice iff) is a Fanfare Trumpet which can be used in chords and as part
of larger
ensemble registrations. Additionally, thefffvoice is unaffected by intramanual and intermanual
couplers (except the Melody Couplers), while
theffvoice couples with other stops in its division.
To choose a trumpet, select the FESTIVAL TRUMPET menu item on the console display.
Tum the
SELECT knob to switch between the louder and softer trumpets. These voices are essentially two
ranks which may be voiced independent
of one another. The contrast between the two trumpets is
not limited to loudness, but is subject to all
of the voicing adjustments available through on-site
voicing.
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