Rodgers Deseret 115 User manual

o
n
o
o
D
~
o
o
o
o
o
o
o
o
o
-0
o
o
u
ROILERS
Two Manual Organs
Deseret
115
OWNER'S GUIDE
RODGERS INSTRUMENTS CORPORATION
A member of the Roland Group

I
l
~I
~
TABLE OF CONTENTS
RODGERS DESERET 115 OWNER'S MANUAL
Introduction • • • • • • • • • • • • • • • • •• 1
3
3
4
4
4
6
· .• 6
7
8
9
· 10
·.. 10
• 11
· 11.
• • 12
. . .......
The Console •••••••
Great Manual •
Swell Manual • • • •
Pedal Clavier
Supplements •••
The Musical Resources of the Deseret 115 . . • •
Principal Stops . • • • • • • •
Flute Stops ••• . • • • • •
The String Family • • • •• •
The Reed Stops ••••••••••
Mixtures . • • •
Mutations •••
Tremulant • • •
Chiff • • • • • • •
Couplers .. . . . . . . . . . . . . .
j.
r .
n
~
c
o
c
o
,
D
Speaking Stops on the Deseret 115 ••
Double-Touch Preset Pistons
Some Registration Hints ••• • • •
14
...... 15
· •. 17

The Care and Maintenance of the Rodgers
Deseret 115 . . . . . . . . . . .
i
I
f
I
,"
Some Registration Hints (Cont'd)
Great Division
Swell Division
Pedal Division .
Choir Registrations
Combination Registrations
Romantic Ensembles . . . .
Console and Pedalboard .
Keyboards and Stop Tabs
Additional Design Elements o£ the
Deseret 115 . . . . . .
Console Specifications .
Leveling Glides . . . .
Speaker System . . . . .
Rodgers Transposer •
...... 18
. . . . 19
.. 20
· . . 21
. . . . . 22
· 23
· 25
· 25
• • 26
• • • 27
.... 27
· 27
· • • 28
· 28
r, -]
Il
I,:
11
r-
, I
Il
I
1
'1
1
I :1
I
hi
I ,
I '\
iJ
I "
1'\
["J
1,1
Rodgers Warranty . . . . . . . . . . . . . . . . 30
u
[J
iJ
II
I. _,
~

[L
r
I,
n
n
,
r
,
[
[
'0
,
.C -~:,'~'~:'
"
o
·c
c
~U
:U
··l
L
.~
DESERET 115
The design of the Rodgers Deseret 115 skillfully blends
space-age technology with the finest traditions of the
centuries-old art of organ building. From a compact and
reliable solid-state console emanates a full ensemble of
voices suited to the interpretation of traditional organ
literature as well as service music of the contemporary de-
votional service.
Incorporated in the organ's design are the elements
necessary for practice and teaching, making the Deseret 115
an ideal instrument for school or studio.
The purpose of this owner's manual is to explain the
musical resources available on the Deseret 115 and to suggest
some registration ideas that suit the printed organ score.
The unique sound of the organ is derived from four
basic families of organ tone, at many pitch levels and in
various combinations. These combinations produce a phenome-
non known as "ensemble
ll
• To accomplish the art of creating
fine organ ensemble, there must be many pitch and tone
sources interacting with one another. Good ensemble demands
that voices add their particular tonal characteristics to
form a cohesive sound in such a manner that no one voice
projects itself obtrusively upon another.
1

There are traditional concepts governing the relation-
ships between and within the various families of tone.
These concepts are used by The Rodgers Organ Company as
guidelines for the tonal finishing of all our organs.
2
1
1.1
'I
.J
II
i ..

I
I,-
rl
,
n
~
·-r
I
[
C
[
[
o
C
L
U
-,U
C
-~
L
THE CONSOLE
As the art of organ building evolved over the centuries,
certain features of the instrument have become more or less
standard, as organists, by a process of elimination, gradual-
ly culled out the "innovations" that served no purpose.
The modern organ console is a manual of convenience and
practicality. The combination of two 6l-note beveled (and
tilted) keyboards and the 32-note concave and radiating
p~dalboard gives the organist considerable flexibility to
perform organ music as written, without compromise. In
addition, various tone colors are conveniently available,
distributed among divisions according to usual design.
All Rodgers Church Organs adhere to console specifi-
cations as standardized by the American Guild of Organists.
GREAT MANUAL - Lower Keyboard
The Great Division constitutes the most complete de-
velopment of Principal sounds, supplemented by flutes at
8',4',2', and 1-1/3'. This Division is the tonal back-
bone of the organ, essential to leading congregational
singing. Included in this division are stops (8' Gemshorn
and Flute Celeste II) primarily used for softer accompani-
ment. A color reed, the 8' Krumrnhorn, is also found here.
3

,'
articulate sounds associated with the Positiv Division of
the Baroque organ. On the Deseret 115, characteristic
sounds of the Choir Division are distributed among the Swell
and Great Divisions. The mutations on the Swell act as ideal
colorings in various combinations and a foil to Baroque
cOmbinations. The 8' Flute Celeste II (Great) suggests a
Choir celeste-effect.
There is much emphasis today on the word "contrapuntal",
and for very good reason. Keyboard instruments such as the
organ, piano, and harpsichord, are the only instruments where
more than one note can be played, or sustained, at one time.
For this reason, the most typical kind of music written for
the organ involves several melodic lines occuring simultane-
ously. The standards of this type of composition demand that
the lines complement each other harmonically as well as
melodically. Since the melodic lines move against each
other, this style of composition is called "counterpoint",
and the motion is called "contrapuntal." If not on a key-
board instrument, more than one instrument is required to
perform this style of music. Therefore, it is no wonder
that most contrapuntal music is written for keyboard instru-
ments.
5
'1
I
I'
o
.)

I
1
1
n
l
j
U
L
L
THE MUSICAL RESOURCES OF THE DESERET 115
PRINCIPAL STOPS
The term "Principal" has been used synonymously for
"Prinzipal", "Diapason", and "Prestant" for that unique
quality of sound which is characterized as organ sound.
Since the principal has no orchestral counterpart, it is
unique to the organ and is the natural sound produced by
open metal flue pipes in a pipe organ. This sound provides
a foundation for the entire ensemble, and the importance of
the principal stops is evident when we examine the stoplist
of the Deseret 115.
The Great Division evolves around this Principal sound.
The 8' Principal, 4' Octave, 2' Fifteenth (super octave),
and a Mixture II comprise its "Principal Chorus". The Swell
Division Principals are subordinate to the Great, thus are
less prominant and are found only at 8' and 4', and a
mixture voiced appropriately.
The Pedal principals provide a foundation for supporting
the manual tonal mass, as well as clarifying and defining
an independent line in contrapuntal music. Principals at
16', 8',4', and a two-rank mixture complete and integrate
this division.
6

FLUTE STOPS
The flute stops characterized by limited harmonic de-
velopment, are also good foundation builders. Flutes are
often imitative of the orchestral flute in higher range;
while in the lower range, they provide a deep and solid bass.
The flutes of the Deseret 115 (the 8' Bourdon,' 4' Flute;
2' Piccolo, and Flute Celeste II) have a definite "stopped"
quality of sound. This hollow sound enables them to combine
without creating thickness or muddiness. Often Great flutes
may be used interchangeably with Principals for varying
ensemble possibilities. The 8' Flute Celeste II creates a
warm, undulating sound useful for accompaniment work. The
1-1/3' Larigot is a light mutation stop for contrapuntal
combinations. The Swell Flutes supplement the Swell Princi-
pals at 8' and 4'. The 16' Lieblich Gedeckt adds weight to
a manual texture; the 2' Piccolo or l' Fife, brightness.
Two mutations, a 2-2/3' Nazard and a 1-3/5' Tierce, useful
for Baroque combinations, provide additional color and
solo cOmbinations.
The Pedal flutes (from 16' - 2') provide soft to medium
loud foundation, and clarity to the linear music.
7
1
r .
JJ
l. '
I: