Rodgers Columbian 75 User manual

Owners Manual
RODG€RS
COLUMbiAN
.and 7-;
Jamestown
100-11
PART #1905-212
RODGERS ORGAN COMPANY
1300 NE 24TH Avenue
Hillsboro, Oregon 97124

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RODGERS COLUMBIA-75
RODGERS 'JAMESTOWN 100-11
The design of the Rodgers Organ is a skillful blend
of space-age technology with the centuries-old art of organ
building. From a compact and reliable solid-state console
emanates a full ensemble of pure classic voices suited to
the interpretation of traditional organ literature as well
as service music of the contemporary church.
Incorporated into its design are the elements necessary for
practice and teaching, making the( Organ ' - - also an ideal
instrument for school or studio.
Because this organ is capable of such a broad range of tonal
color and flexibility, no attempt will be made to completely
catalogue the many possible stop combinations available. It
is hoped, however, that the registration suggestions and other
information contained here will serve as a proper introduction
to the musical resources of your new Rodgers Organ
An organ's sound is constructed by the various combinations
of sounds of the families of tone found on the organ.
The uniqueness of different sounds on an organ is the fact
that they are found at different pitch levels (octaves).
A stop that is engraved with an 8' sounds at the same pitch
level as a piano. When you play middle "C" on the organ with
an 8' stop on, you hear the same note as you would playing
middle "C" on the piano. .
You
will notice that other stops have 16',4', 2', 2-2/3',
and 1-3/5' engraved on them. These numerals show the pitch
relationship to the 8'. The larger the number, the lower the
pitch. Example: the stop engraved 4' will produce a sound
one octave higher than the note being played. If you are playing
middle "C", the sound you would be hearing is the pitch of
the "C" one octave above middle "C". The 16' would give you
one octave below, and the 2' will produce the pitch two octaves
above the note you are playing.

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The 2-2/3' and 1-3/5' are of a different nature. When they
are drawn, they produce a different interval other than the
octave of the note being played. The 2-2/3' produces a note
one octave and five steps above the note that is being played.
Example: playing middle "C", you will hear the "G" above
the octave above middle "C". The Tierce 1-3/5' speaks two
octaves and a third above the 8' pitch. These stops are
called mutations and are used for coloring purposes only,
being omitted from any full organ combinations. Use these
stops often for combinations with a single melody line and
experiment with them; they are the "salt and pepper" of the
organ stops.
The glorious sound that an organ produces comes from the
combination of similar tone qualities at different pitch
levels, with the upper pitch levels adding brilliance and
the lower pitches adding fullness. This combination of voices
at different pitch levels produces ensemble.
Ensemble is created by the combination of voices that complement
each other by adding their own quality to the total sound
without sticking out or being obtrusive in any way. To hear
how this principle works, turn on the 8' Principal on the (
Great. Now, while holding a chord, add in succession the
4' Octave, the 2' Fifteenth, and finally the Mixture II.
Hear how the tone is brightened and clarified by these registers.
Now add in succession the 8' Bourdon and the 4' Flute. This
"firms up" the ensemble and gives it body. The use of these
stops in various combinations is basic to the art of registration.
Experiment freely with the sounds of the organ; experimentation
is the key to a better understanding of its capabilities.

THE CONSOLE
As the art of organ building has evolved over the centuries,
certain features of the instrument have become more or less
standard as organists, by a process of elimination, gradually
culled out "innovations" that served no practical function and
merely got in the way. An extreme example of this type of thing
is the old "thunder pedal" of some of the early European organs.
This pedal when depressed would cause the lowest four or five
pipes of the pedal organ to sound at once, giving an effective
"rumble" like thunder. Such devices, happily, are extinct.
The modern organ console is a miracle of convenience and practi-
cality, due to the process of evolution that produced it. The
combination of two 6l-note beveled and tilted keyboards and the
32-note concave and radiating pedalboard gives the organist the
necessary flexibility to perform organ music as written, without
compromise. In addition, the various tone colors are conveniently
available, distributed into divisions according to their traditional
functions in the organ.
Incidentally, all Rodgers Church Organs adhere rigidly to the
specifications for console standardization as laid down by the
American Guild of Organists.
It may be well at this point to give a short description of the
tonal "palette" and function of the various divisions of the
organ.
THE GREAT ORGAN -- Lower Keyboard
This division is the backbone and main substance of the organ.
It is characterized by the unique Principal sound, available
at a complete range of pitches. This Principal Chorus, backed
up by a chorus of softer Flutes and crowned by the Mixture, consti-
tutes the principal support to congregational singing in the
church. This division also contains the soft Celeste voice,
to enable the Great to funtion as an accompanimental division
as well. The percussions (Harp and Carillon) are located in
this division.
THE SWELL ORGAN -- Upper Keyboard
This division characteristically contains the more romantic solo,
orchestral, and color sounds. Its Principals are less assertive
than those of the Great. It contains Reed voices, as well as
the mutations, which allow for the synthesis of interesting tone
colors. The Voix Celeste II is located in this division which
is the traditional location of this beautiful stop.

THE CHOIR DIVISION
Organ music very often has registrations calling for the third
manual, the Choir manual. This division gets its name from its
traditional function of accompanying the church choir. To this
end, it has light flutes and strings to provide the fabric of
sound against which voices and vocal lines may be placed. The
light Flutes and Mutations, together with the Chiff (Baroque Accent)
provide the light, articulate sounds of the Positiv, or Baroque
Division. The percussions (Harp and Carillon) are generally of
this division.
In many two manual organs, this division is neglected. On your
Rodgers, however, the characteristic sounds of the choir are
distributed among the two manual divisions., placed with an eye
to flexibility so that solo sounds are placed against accompanimental
sounds; full sounds against light sounds. Note, for instance,
that the Solo Clarinet on the Great can be accompanied by the
Celeste on the Swell. The Mutations and light upper flutes of
the Swell make an ideal contrapuntal foil to the Principal Chorus
of the Great. In addition, the preset tabs on the Jamestown
100 give much of the flexibility of the third manual.
THE PEDAL ORGAN -- Pedal Keyboard
This division, consisting of Flue Stops, is the foundation upon
which the tonal mass of the organ rests. Two 16' Flutes assure
the proper dynamic strength for soft or full playing. The two
8' stops of differing tone quality and the 4' Principal voice
give the necessary definition and clarity to the Pedal Melodic
line, with the Flutes at 4' and 2' for clear pitch definition
with lighter combinations. The Mixture II brightens the entire
pedal division.
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PERCUSSIONS, TREMULANTS, AND OTHER NON-SPEAKING STOPS
PERCUSSIONS Jamestown lOa-II ONLY
The Carillon is derived from a cluster of sustained Partials, assembled
about a given pitch so as to suggest the harmonic structure of tuned
bells. The Harp is another sustained voice, suggestive of steel
bars being struck by small, felt-padded hammers. The Harp is most
effective when played in arpeggios.
CHIFF Jamestown 100-11
ONLY
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The Chiff tablet is used when the Baroque accent is desired on
the Flutes. When depressed, it adds thel9th momentarily to each
note as it is keyed. This effect is simultaneously added to all
Flutes.
TREMULANTGROUP
There are three Tremulant controls on the Organ .The Main Tremulant
places a light tremulant on the entire organ. This is adjustable
both as to speed and depth. The other two controls affect the operation
of the Leslie speaker unit. The Flute Tremulant/Full tab, when
depressed, engages the fast speed of the Leslie unit. The Flute
Diapason Chorus Tab, when depressed without the Flute Tremulant/Full
tab, channels some of both the Diapason (Principal) and Flute sound
into the Leslie at slow speed, giving more warmth ana-aepth to the
overall organ sound.
FLUTEFF
Often a need arises to temporarily change the basic balance of the
Principals and Flutes on the Organ This is especially true
when the Leslie Flute Tremulant is used on the fast speed, in music
of the Gospel tradition. Depressing the Flute FF tab will cause
a moderate increase in all Flute voices on the organ.

ADDITIONAL DESIGN ELEMENTS OF THE 'RODGERS ORGAN
CONSOLE SPECIFICATIONS
As has previously been stated, the Rodgers Organ adheres
precisely to A.G.O. specifications. This means that the organist
can move from these organs to pipe organs and other A.G.O. consoles
and feel immediately at home. The order of the stops is the
same, as is the placement of manuals, stop divisions, and expression
pedal. Incidentally, the Pedal Clavier of a Rodgers Organ is
completely removable by merely lifting on each side and pulling
the Pedalboard back from the console. This makes it easy to
clean under the Pedalboard -- no cables, no contacts. The Organ
contains a locking roll-top, making the organ tamper-proof.
LEVELING GLIDES
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To assure optimum performance and life of the moving part,s of the
console, it should always be kept "square". Uneven floors tend to
distort the casework over a period of time, and extreme stresses
will damage the casework and equipment. Th~ leveling glides are
under each corner of the console and bench, and are mounted on
heavy threaded pins. These may be adjusted as much as 1-1/2" to (
compensate for irregularities in the floor. A simple spirit level
can assure the most accurate settings. This is particularly useful
in schools where the organ may have to be moved to several locations.
, SPEAKER SYSTEM
The Jamestown is available with either a self-contained, two-channel
speaker system, or with external cabinets. The internal speaker
system consists of aMain Channel (4 speakers) and a built-in Leslie
rotating speaker element.
The typical external speaker installation would include a full-range
Main Cabinet, plus a Leslie rotating speaker system. For added voice
separation, as many as three cabinets may be used as well as an Echo
speaker system, to give adequate power and spread for large churches.
In addition, external cabinets may be added to self-contained models
at a later date, if desired. Amplification is provided within each
Tone Cabinet using high performance all-transistor amplifiers.

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THE CARE AND MAINTENANCE 'OF THE RODGERS ORGAN
Like any fine musical instrument, the care and maintenance your
Rodgers receives is part of the protection of your investment.
Normally, you should experience no difficulties with the various
systems of the organ. It has been carefully designed, and only
the very finest of component parts have been used in its manufacture.
Even the finest equipment, however, is subject to occasional
malfunctions and failures. Your Rodgers Service Representative
is fully equipped and qualified to handle any service problems
which may arise.
Your new Rodgers is not only a fine musical instrument, it is
also a fine piece of custom made furniture, finished to hold
its attractiveness through generations of use. Only the best
woods are used, carefully checked for uniformity of grain and
intensity of figure, and carefully hand assembled. As each
finish coat is applied, it is thoroughly dried and hand rubbed
before the next coat is applied. This hand rubbing results
in a finish that is lasting and easy to keep looking beautiful.
Here are a few tips on caring for the Rodgers.
CONSOLEANDPEDALBOARD
A frequent dusting with a soft, clean cloth is usually all that
is required. A small amount of Johnson's Cream Polish on the
cloth will keep the organ smudge-free and will help remove
fingerprints. Waxes, oils, or silicone base polishes should
not be used. Always wipe the finished surfaces with the grain,
using straight and even strokes.
KEYBOARDS AND STOP TABS
Keyboards and Stop Tabs should be cleaned with a soft cloth
dampened with water and a mild soap. DO NOT USE SOLVENTS (Alcohol,
gasoline, carbon tetrachloride, etc.).
Since extreme cold, heat, or exposure to sunlight may injure
the finish of any piece of fine furniture, the organ console
or finished speaker cabinets should not be placed over a heat
register or near an open window.

THE MUSICAL RESOURCES OF THE RODGERS ORGAN
The Voice Families of the Organ
(Principals, Flutes, Strings, and Reeds)
THEPRINCIPALCDIAPASON) FAMILY
The sound which most of us associate with the organ isthe Principal.
or Diapason tone, the very foundation of the classic organ.
The importance of this stop is emphasized by the use of the
word "Principal" to denote it. The Principal sound is non-imitative;
it has no orchestral counterpart. It is, therefore, unique to
the organ. It is the natural sound produced by open metal organ
pipes, set into vibration by the action of the wind. It has
enough foundational tone to enable it to blend well with, and
add strength to, the whole ensemble of the organ. At the same
time, it possesses enough harmonic development to add brilliance
and character. The usefulness of this type of tone becomes apparent
when one looks at the stoplist of the Organs J. On the Great
Manual, Principals are present at 8', 4'~ 2' pitch level$.
There is also a mutation Principal pitch (2-2/3' Twelfth), and
a Mixture stop composed of Principal partials, designed to add
brilliance to the Principal Chorus in every register of the keyboard.
In the Swell division, Principals are present at 8' and 4' pitches
as aids to the ensemble of that manual. The 8' Gemshorn on the
Swell is voiced as a Principal/String hybrid, less bold than
the 8' Principal of the Great. In the Pedal Organ, Principals
are present at 8' and 4' pitches to provide foundation and definition
for that division plus a Mixture II to further accentuate the pedal
line.
THE FLUTE FAMILY
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The Flute tones of the organ are characterized by limited harmonic
development, and as such, are good foundation builders. Here we
have sound with an orchestral counterpart, and it can be used as
a valuable solo stop. In the Great division, Flutes complete the
ensemble and give it a fuller, more rounded sound. The light upper
Flutes of the Swell manual enable that division to perform as a
Baroque divison-- as a foil to the Great in passages involving
contrapuntal textures. The mutation (off-unison) pitches of the
Swell Flutes enable the imaginative organist to actually synthesize
a variety of interesting solo effects (more on this in the registration
section). The Baroque "chiff" accent is available on the Flutes,
adding sparkle to the works of Bach and his contemporaries.
The Flutes of the Rodgers Organ may be channeled into the Leslie
Speaker Unit, through the use of the Flute/Diapason Chorus and Flute (
Tremulant Full tabs. This gives the Flutes the deep, vibrant
tremolo of the Tibia family of stops, enabling the organist to play
the music of the Gospel tr~dition, as well as theatrical and popular
style music.