Rodgers Deseret 115 User manual

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ROILERS
Two Manual Organs
Deseret
115
OWNER'S GUIDE
RODGERS INSTRUMENTS CORPORATION
A member of the Roland Group

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TABLE OF CONTENTS
RODGERS DESERET 115 OWNER'S MANUAL
Introduction • • • • • • • • • • • • • • • • •• 1
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· .• 6
7
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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 .. . . . . . . . . . . . . .
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Speaking Stops on the Deseret 115 ••
Double-Touch Preset Pistons
Some Registration Hints ••• • • •
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...... 15
· •. 17

The Care and Maintenance of the Rodgers
Deseret 115 . . . . . . . . . . .
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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
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Rodgers Warranty . . . . . . . . . . . . . . . . 30
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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
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• 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.
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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.
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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.
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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.
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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.
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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.
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THE STRING FAMILY
The warm and delicate sounds of organ "strings" provide
effects often specified by composers to enhance and beautify.
"Strings
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, as they are called in the organ, are traced back
to the French Romantic school of organ building. They are
closely related to the principal, but contain more harmonic
development and less fundamental, resulting in a lush, often
opulent sound.
The Swell Division contains two string stops: the
8' Salicional, and the 8' Voix Celeste II. The Salicional
is useful as an accompanying voice and an ensemble stop when
used with the flutes. The Voix Celeste II is constructed of
two string voices, one tuned slightly sharper than the
unison pitch, creating an undulation (slow beating) effect.
(It was said to resemble heavenly voices -- hence it
received the name Voix Celeste.) The Celeste is Ilfrosting
on the cake", and is suited for soft passages and wherever
called for.
The Gemshorn is placed tonally between the ,principals
and the flutes, thus classifying it as a "hybrid stop". It
is a fine voice for building soft foundation combinations,
and is located at 8' in the Great Division and in the Pedal
Division.
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In the pipe organ, the above families, collectively
called "flue-stops" (Principals, Flutes, and Strings) are
sounds derived in pipes by a vibrating column of air which
is set in motion by a wind stream blowing across the upper
lips of the pipe much like the simple whistle.
THE REED STOPS
Pipe organ reed stops are activated by the striking
vibrations of a brass reed tongue against a slotted brass
tube, called a "shallot". The .resulting sounds are quali-
fied in pitch and tone by variably shaped resonators situ-
ated above the tongue assembly.
Solo reeds are best used in a single melodic line and
are often of an imitative orchestral nature. Chorus reeds
blend well to complete full ensembles.
The 8' Trornpette in the Swell Division and the 16'
Fagotto in the Pedal Division are the chorus reeds of the
Deseret 115. They add the fire to the total ensemble that
the brass section adds to the orchestra.
The Swell 8' Trompette is very useful as a solo stop.
The 8' Oboe is a solo stop of an orchestral nature, voiced
softer than the Trompette. The 8' Krummhorn (Great) is both
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useful for solo purposes and in combination, and the Pedal
16' Fagotto is used for the Full Pedal •
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MIXTURES
Mixtures are generally composed of sets of unison and
off-unison pitches, which clarify and extend the upper
harmonic structure of the organ ensemble. They are used
generally in fuller registrations.
The Deseret 115 has three mixtures, each consisting of .
two ranks. Each has its own separate leveling control,
allowing for adjustments to be made according to the
requirements of the room in which the organ is placed.
MUTATIONS
Mutations are off-unison pitched stops whose purpose
is to add color to solo combinations. These stops are the
"salt and pepper" of registration, and should be freely
experimented with.
The 1-1/3' Larigot (Great) is a flute stop pitched
at two octaves and a major fifth above the unison (8')
pitch, usually used with Flutes at 8' and 4', or 8' and 2'.
The 2-2/3' Nazard (Swell) is the same pitch as the
Twelfth, but is a flute voice. If added to the 8' Rohr
Flute (Swell), its hollow half-stopped quality becomes more
apparent because of the reinforcement of that particular
harmonic of the 8' pitch.
The 1-3/5' Tierce is a flute pitched two octaves and
a major third above the unison (8').
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TREMULANT
The main tremulant places a light tremulant on the en-
tire organ. It may be adjusted both for speed and depth.
CHIFF
The "Chiff
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tab affects only the manual flutes and pedal
flutes 8' and above. Chiff is a characteristic attack that
flue pipes have when the activated air stream strikes the
upper-lip. This percussiveness increases definition and
enhances flexibility •
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The couplers on the Deseret 115 perform only the function
that they are labeled. The Swell will not play on the Pedal
just because the Great to Pedal is on and the Swell to Great
is on.
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DOUBLE-TOUCH PRESET PISTONS
The Deseret 115 has three "Double-Touch" presets and a
"Stoprail OFF" piston, located just below the Swell manual.
Each piston has two contact points. A light touch adds the
stops controlled by the piston to whatever other stops are
already playing. Firm pressure cancels other presets and
any
voices chosen on the stoprail, leaving only the combi-
nation of voices controlled by that piston.
The "Stoprail OFF" piston allows you to disconnect the
stoprail while. you are playing a numbered preset. You may
then change voices on the stoprail without affecting the
organ sound and then use this. piston to reconnect the stop-
rail and its new combination of voices, either by itself or
in combination with the preset pistons. Tremulants are not
affected by the preset pistons.
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PRESET CO~mINATIONS
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SOME REGISTRATION HINTS
The following guides to stop selection are for the
Deseret 115 when used basically as a classic instrument
in the church service. They include division-by-division
suggestions for basic combinations of stop voices. These
guides should be especially useful for interpreting stop
suggestions in published organ music, since most organ
music must be printed with only general registration sug-
gestions. This is because every organ is different in some
way from every other organ. Therefore, names of some stops
var~ between instruments. The best way to get to know your
Rodgers is to experiment freely with its sounds. This basic
guide will help in making good classic registration.
At the end of the section are several combination regis-
trations suggested for certain specific styles and periods
of organ composition.
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