Rodgers OLYMPIC User manual

CONTENTS
Introduction II 11 .. " • " .. "« " " " " " " ..
1
Console " " " " II 11
3
Accompaniment Manual " 11 " .. " " " • 11 " " ..
Solo Manual. 10; II " 11 ..
................... It .. " " .. " II " "
Great Manual ..
Pedalboard , .. " " " " ".................... "
.... " ..
3
4
4
4
Speaking Stop Tabs and Voice Families.
...... " " .. " " " " " " « .. 5
Tibias (Flutes) .. " " "" " " ".............. 6
Diapasons (principals). 7
Strings ., " " if " .. • .. .. .. .. .. .. .. .. .. .. .. • .. .. 7
Reeds .. "" " ., ., ., .. .. .. .. .. .. .. .. 7
Tuned Percussions " .. ., .. ., II II 8
Specification List ..
.. ., ' " If .. • • .. •10
Non-Speaking Stop Tabs and Special Features ...................•.... 11
Combination Action .. " ., ..
Rhythmaker & Traps.
Transposer ....•.....
Speaker System ., " ., " " .. " " II II ., .15
Voicing Tablets .. 11 ., " " " ., ., ., 11
'Tremulants" If ' If ., If ., .. " 11
12
Expression and Crescendo Pedals ..•........•.................. 12
Sforzando Piston and Toe Stud 13
Rodgers Practice Panel .............•..•....................... 13
.14
. . 15
Care and Maintenance.
.16
Console and Pedalboard .......•••..........................•... 16
Keyboards and Stop Tabs 17
Leveling Glides IF IF IF ., IF • 17
Five-Year Limited Warranty .... ... 18
The Art of Organ Registration.
19
Suggested Memory Settings .......................•.......•........... 20
CONTENTS
Introduction II 11 .. " • " .. "« " " " " " " ..
1
Console " " " " II 11
3
Accompaniment Manual " 11 " .. " " " • 11 " " ..
Solo Manual. 10; II " 11 ..
................... It .. " " .. " II " "
Great Manual ..
Pedalboard , .. " " " " ".................... "
.... " ..
3
4
4
4
Speaking Stop Tabs and Voice Families.
...... " " .. " " " " " " « .. 5
Tibias (Flutes) .. " " "" " " ".............. 6
Diapasons (principals). 7
Strings ., " " if " .. • .. .. .. .. .. .. .. .. .. .. .. • .. .. 7
Reeds .. "" " ., ., ., .. .. .. .. .. .. .. .. 7
Tuned Percussions " .. ., .. ., II II 8
Specification List ..
.. ., ' " If .. • • .. •10
Non-Speaking Stop Tabs and Special Features ...................•.... 11
Combination Action .. " ., ..
Rhythmaker & Traps.
Transposer ....•.....
Speaker System ., " ., " " .. " " II II ., .15
Voicing Tablets .. 11 ., " " " ., ., ., 11
'Tremulants" If ' If ., If ., .. " 11
12
Expression and Crescendo Pedals ..•........•.................. 12
Sforzando Piston and Toe Stud 13
Rodgers Practice Panel .............•..•....................... 13
.14
. . 15
Care and Maintenance.
.16
Console and Pedalboard .......•••..........................•... 16
Keyboards and Stop Tabs 17
Leveling Glides IF IF IF ., IF • 17
Five-Year Limited Warranty .... ... 18
The Art of Organ Registration.
19
Suggested Memory Settings .......................•.......•........... 20

INTRODUCTION
While
Garbo was silent, a new kind of organ brought the sound of music
to movie audiences throughout the world. This glorious, new instrument was
called the Theatre Organ, and it became as popular as the movie stars it
accompanied. Although these stars began to fall on the day when Jolson
first sang "Mammy", the Theatre Organ never lost its hosts of loyal and
articulate enthusiasts.
Today, Theatre Organ sound has evolved into the familiar strains of the
home organ--a smaller version of the mighty cinema pipe organ. Home organs
are the most popular musical instruments of our day, more and more being
purchased every year. Of all the home organs made, the most authentically
voiced and sophisticated instruments are built by RODGERS.
Current electronic innovations continue to make organs more fun to play,
and the number of organists increases year by year. It takes an extraordinary
company to keep up with technology and at the same time maintain the elegantly
grandiose traditions of the Theatre Organ. Only RODGERS does it best.
Every Rodgers organ is custom-voiced in the factory. Additional voicing
and tonal finishing are done when the organ is installed. Discrete components
permit voice by voice, independent volume controls. Voicing tablets, within easy
reach of the organist, can double each major voice family's volume independently.
The OLYMPIC has a three-manual, horseshoe style console, conforming to
specifications of the American Guild of Organists. Its 61-note manual keyboards
-1-
INTRODUCTION
While
Garbo was silent, a new kind of organ brought the sound of music
to movie audiences throughout the world. This glorious, new instrument was
called the Theatre Organ, and it became as popular as the movie stars it
accompanied. Although these stars began to fall on the day when Jolson
first sang "Mammy", the Theatre Organ never lost its hosts of loyal and
articulate enthusiasts.
Today, Theatre Organ sound has evolved into the familiar strains of the
home organ--a smaller version of the mighty cinema pipe organ. Home organs
are the most popular musical instruments of our day, more and more being
purchased every year. Of all the home organs made, the most authentically
voiced and sophisticated instruments are built by RODGERS.
Current electronic innovations continue to make organs more fun to play,
and the number of organists increases year by year. It takes an extraordinary
company to keep up with technology and at the same time maintain the elegantly
grandiose traditions of the Theatre Organ. Only RODGERS does it best.
Every Rodgers organ is custom-voiced in the factory. Additional voicing
and tonal finishing are done when the organ is installed. Discrete components
permit voice by voice, independent volume controls. Voicing tablets, within easy
reach of the organist, can double each major voice family's volume independently.
The OLYMPIC has a three-manual, horseshoe style console, conforming to
specifications of the American Guild of Organists. Its 61-note manual keyboards
-1-

are slightly tilted toward the organist for playing ease. The 32-note concave
and radiating pedalboard has magnetic keying action and is illuminated by a
pedalboard light. Authentic stop tablets are engraved. not hot stamped. An
illuminated music rack and a matching bench. with a music storage compartment,
is standard.
Except for the external Glockenspiel, all the OLYMPIC's electronic
components are entirely solid -state and contained within the console.
-2-
are slightly tilted toward the organist for playing ease. The 32-note concave
and radiating pedalboard has magnetic keying action and is illuminated by a
pedalboard light. Authentic stop tablets are engraved. not hot stamped. An
illuminated music rack and a matching bench. with a music storage compartment,
is standard.
Except for the external Glockenspiel, all the OLYMPIC's electronic
components are entirely solid -state and contained within the console.
-2-

CONSOLE
The tones of this organ range in pitch from a bass note lower than the
lowest tones of the Tuba to a treble note beyond the highest tone of the
orchestral Piccolo. The OLYMPIC ranges in pitch from three octaves below
Middle C to five octaves above Middle C. A total range of eight octaves!
You will never find a note of music written for the organ that cannot be
played on your Rodgers OLYMPIC.
Theatre Organs) as Classic Organs, have keyboards (manuals) with a
specific name relating to a musical function:
MANUAL
Upper Manual
Middle Manual
Lower Manual
THEATRE
ORGAN
Solo
Great
Accompaniment
CLASSIC ORGAN
Swell
Great
Choir
SOLO MANUAL
This manual is generally used for single-note melodies) because it
provides voices which contrast the sounds of the Accompaniment and Great
Manuals. All four tone families are represented on the Solo Manual. Pitches
range from the 16' Tibia Clausa to the 4' Tibia Piccolo. The Solo percussions
are on this manual: Piano) Harpsichord) Harp and a real metal-bar Glocken-
spiel. An additional voice on the Solo Manual is the 16' Bass (Diapason)
which, with the Tibias, gives additional flexibility and coloring.
-3-
CONSOLE
The tones of this organ range in pitch from a bass note lower than the
lowest tones of the Tuba to a treble note beyond the highest tone of the
orchestral Piccolo. The OLYMPIC ranges in pitch from three octaves below
Middle C to five octaves above Middle C. A total range of eight octaves!
You will never find a note of music written for the organ that cannot be
played on your Rodgers OLYMPIC.
Theatre Organs) as Classic Organs, have keyboards (manuals) with a
specific name relating to a musical function:
MANUAL
Upper Manual
Middle Manual
Lower Manual
THEATRE
ORGAN
Solo
Great
Accompaniment
CLASSIC ORGAN
Swell
Great
Choir
SOLO MANUAL
This manual is generally used for single-note melodies) because it
provides voices which contrast the sounds of the Accompaniment and Great
Manuals. All four tone families are represented on the Solo Manual. Pitches
range from the 16' Tibia Clausa to the 4' Tibia Piccolo. The Solo percussions
are on this manual: Piano) Harpsichord) Harp and a real metal-bar Glocken-
spiel. An additional voice on the Solo Manual is the 16' Bass (Diapason)
which, with the Tibias, gives additional flexibility and coloring.
-3-

GREAT MANUAL
This manual is characterized by its large number of voices and pitches,
special effects, and the big, full sounds reminiscent of the traditional Theatre
Organ. In addition to all voice families at the 8' pitch, the Great Manual
contains: six 16' stops (Trumpet, Tuba, Bass, Tibia Clausa, Saxophone and
String); three mutation stops (5 1/3' Tibia Quint, 2 2/3' Tibia Twelfth and
1 3/5' Tibia Tierce); and unison Tibias at 4', 2' and l' pitches. Also you will
find an 8' String Celeste and the 4' Octave (Diapason).
ACCOMPANIMENT MANUAL
This manual, as its name implies, is most often used for background
accompaniment, while the melody is played on the Solo or Great Manual. A
particularly lovely registration on this manual is the 8' Diapason and 8' Diapason
Celeste. Tuned Percussions on the Accompaniment are the Chrysoglott (organ
celesta) and the 4' Harp. The 4' Harp can be added to other voices on the
Accompaniment Manual to give the characteristic "clunk" of the Marimba-Harp
on a Theatre Organ. Also found on this manual are the Chinese Block, Snare
Drum, Tambourine and Cymbal for rhythm accompaniment with authentic trap
voices. The Accompaniment Soft tab reduces the level of the speaking voices on
this manual for the softest possible accompaniment sounds.
PEDALBOARD
The stops in the Pedal division of the OLYMPIC provide a suitable bass
support for any registration used on the manuals. A special effects voice,
the 8' Sustain Bass, can be used for a string bass sound, or it can be combined
with other pedal voices. Three traps, Bass Drum, Cymbal and Wood Block, are
located in the Pedal division.
-4-
GREAT MANUAL
This manual is characterized by its large number of voices and pitches,
special effects, and the big, full sounds reminiscent of the traditional Theatre
Organ. In addition to all voice families at the 8' pitch, the Great Manual
contains: six 16' stops (Trumpet, Tuba, Bass, Tibia Clausa, Saxophone and
String); three mutation stops (5 1/3' Tibia Quint, 2 2/3' Tibia Twelfth and
1 3/5' Tibia Tierce); and unison Tibias at 4', 2' and l' pitches. Also you will
find an 8' String Celeste and the 4' Octave (Diapason).
ACCOMPANIMENT MANUAL
This manual, as its name implies, is most often used for background
accompaniment, while the melody is played on the Solo or Great Manual. A
particularly lovely registration on this manual is the 8' Diapason and 8' Diapason
Celeste. Tuned Percussions on the Accompaniment are the Chrysoglott (organ
celesta) and the 4' Harp. The 4' Harp can be added to other voices on the
Accompaniment Manual to give the characteristic "clunk" of the Marimba-Harp
on a Theatre Organ. Also found on this manual are the Chinese Block, Snare
Drum, Tambourine and Cymbal for rhythm accompaniment with authentic trap
voices. The Accompaniment Soft tab reduces the level of the speaking voices on
this manual for the softest possible accompaniment sounds.
PEDALBOARD
The stops in the Pedal division of the OLYMPIC provide a suitable bass
support for any registration used on the manuals. A special effects voice,
the 8' Sustain Bass, can be used for a string bass sound, or it can be combined
with other pedal voices. Three traps, Bass Drum, Cymbal and Wood Block, are
located in the Pedal division.
-4-

SPEAKING STOP TABS AND VOICE FAMILIES
The speaking stop tabs are grouped on the stop rail as in a traditional
Theatre Organ console. On the extreme left are the Pedal stop tabs; the
Accompaniment stop tabs next; then the Great stop tabs and, on the extreme
right, the Solo stop tabs.
Each speaking stop tab is engraved with the full name of the stop in
italics at the top, the pitch designation (8', 4' etc.) in the middle, and the
abbreviation of the stop name in capital letters at the bottom.
The color of each stop tab indicates the voice family to which the stop
belongs; White for Tibias, Flutes and Diapasons; Amber for Strings; Red for
Reeds, Gray for Percussions and Black for accent tabs (if).
The footage designation on the stop tabs is from the system used in the
building of pipe organs. An open pipe, eight feet long. produces the lowest
tone (bottom C on the manual). hence it is called an 8' stop. The 8' stops are
called the "Unison Pitch" of the organ. That is, Middle C played on a 8' stop
has the same pitch as Middle C played on a piano. A16' stop sounds an octave
below the Unison Pitch. A 4' stop sounds an octave above; a2' stop sounds two
octaves above and a l' stop sounds three octaves above the Unison Pitch.
In addition to the octave sounding stops, there are the "Mutation" stops:
5 1/3' Tibia Quint
(sounds a fifth above Unison Pitch)
2 2/3' Tibia Twelfth
(sounds an octave and afifth above Unison Pitch)
1 3/5' Tibia Tierce
(sounds two octaves and a third above Unison Pitch)
-5-
SPEAKING STOP TABS AND VOICE FAMILIES
The speaking stop tabs are grouped on the stop rail as in a traditional
Theatre Organ console. On the extreme left are the Pedal stop tabs; the
Accompaniment stop tabs next; then the Great stop tabs and, on the extreme
right, the Solo stop tabs.
Each speaking stop tab is engraved with the full name of the stop in
italics at the top, the pitch designation (8', 4' etc.) in the middle, and the
abbreviation of the stop name in capital letters at the bottom.
The color of each stop tab indicates the voice family to which the stop
belongs; White for Tibias, Flutes and Diapasons; Amber for Strings; Red for
Reeds, Gray for Percussions and Black for accent tabs (if).
The footage designation on the stop tabs is from the system used in the
building of pipe organs. An open pipe, eight feet long. produces the lowest
tone (bottom C on the manual). hence it is called an 8' stop. The 8' stops are
called the "Unison Pitch" of the organ. That is, Middle C played on a 8' stop
has the same pitch as Middle C played on a piano. A16' stop sounds an octave
below the Unison Pitch. A 4' stop sounds an octave above; a2' stop sounds two
octaves above and a l' stop sounds three octaves above the Unison Pitch.
In addition to the octave sounding stops, there are the "Mutation" stops:
5 1/3' Tibia Quint
(sounds a fifth above Unison Pitch)
2 2/3' Tibia Twelfth
(sounds an octave and afifth above Unison Pitch)
1 3/5' Tibia Tierce
(sounds two octaves and a third above Unison Pitch)
-5-

For example:
By playing Middle C on the Great with the 5 1/3' Tibia Quint on, the
G above Middle C will sound. The 5 1/3' Tibia Quint, the 2 2/3' Tibia Twelfth
and the 1 3/5' Tibia Tierce should never be played alone. The 1 3/5' Tibia
Tierce should only be used in combination with the 5 1/3' Tibia Quint or 2 2/3'
Tibia Twelfth. Mutations should be used with much discretion and sparingly,
unless a special effect is desired. Their function is to provide tonal color and
shading.
When the initials T. C. are engraved on the stop tab, they designate that
the second "C" (Tenor C) is the lowest speaking note of that stop. As in a
Theatre pipe organ, certain of the thicker sounds stop at Tenor C to allow the
organist to play in the lowest register without resulting muddiness in sound.
VOICE FAMILIES
There are four families of organ tone: Tibias (Flutes). Diapasons
(Principals). Strings and Reeds. Each family has its own characteristics and
purpose in the organ's tonal spectrum. In addition. the OLYMPIC includes
both Tuned and Non-tuned Percussions, typical of fine Theatre Organs.
TIBIAS (Flutes)
The powerful Tibia voices are the foundation tones of the Theatre Organ.
Traditionally, the Tibia voices attain their unique character by a deep and
fairly rapid Tremulant.
The Tibia is adaptable to a variety of uses:
As a single solo voice for amelody line;
For the beautiful, tneatrical open harmony;
-6-
For example:
By playing Middle C on the Great with the 5 1/3' Tibia Quint on, the
G above Middle C will sound. The 5 1/3' Tibia Quint, the 2 2/3' Tibia Twelfth
and the 1 3/5' Tibia Tierce should never be played alone. The 1 3/5' Tibia
Tierce should only be used in combination with the 5 1/3' Tibia Quint or 2 2/3'
Tibia Twelfth. Mutations should be used with much discretion and sparingly,
unless a special effect is desired. Their function is to provide tonal color and
shading.
When the initials T. C. are engraved on the stop tab, they designate that
the second "C" (Tenor C) is the lowest speaking note of that stop. As in a
Theatre pipe organ, certain of the thicker sounds stop at Tenor C to allow the
organist to play in the lowest register without resulting muddiness in sound.
VOICE FAMILIES
There are four families of organ tone: Tibias (Flutes). Diapasons
(Principals). Strings and Reeds. Each family has its own characteristics and
purpose in the organ's tonal spectrum. In addition. the OLYMPIC includes
both Tuned and Non-tuned Percussions, typical of fine Theatre Organs.
TIBIAS (Flutes)
The powerful Tibia voices are the foundation tones of the Theatre Organ.
Traditionally, the Tibia voices attain their unique character by a deep and
fairly rapid Tremulant.
The Tibia is adaptable to a variety of uses:
As a single solo voice for amelody line;
For the beautiful, tneatrical open harmony;
-6-

As accompaniment to Strings and Reeds used as solo stops;
As the foundation tone in a full ensemble.
To take advantage of the versatility of Tibias, the OLYMPIC has Tibia
voices at eight different pitches, supplied by independent and individually-
tuned tone sources (oscillators).
DIAPASONS (Principals)
Just as the Tibias are the foundation tones of the Theatre Organ, the
Diapasons are the foundation tones of a Classic or Church Organ. They are
available on the OLYMPIC at the 8' pitch on the Solo Manual, 8T and 4' pitches
on the Accompaniment Manual, 16', 8' and 4' pitches on the Great Manual, and
at the 16' and 8' pitches in the Pedal. For a characteristic Church Organ effect,
use both the Tibias and Diapasons at the 8' and 4' pitches with the Tremulants
off.
STRINGS
Organ Strings resemble the sound of the String section in a symphony
orchestra. This tone contrasts with the Tibia. It is thin, keen, has many
overtones and has a limited fundamental tone. The Strings add !ledge!l to the
organ ensemble and "sing" when played alone.
Use of the 8' String Celeste on the Great Manual gives the Strings the
typical lush character of a large section of violins.
REEDS
The Oboe voice is a thin solo Reed with many uses from a beautiful solo
line low on the manual to the novelty sound created when it is registered with
-7-
As accompaniment to Strings and Reeds used as solo stops;
As the foundation tone in a full ensemble.
To take advantage of the versatility of Tibias, the OLYMPIC has Tibia
voices at eight different pitches, supplied by independent and individually-
tuned tone sources (oscillators).
DIAPASONS (Principals)
Just as the Tibias are the foundation tones of the Theatre Organ, the
Diapasons are the foundation tones of a Classic or Church Organ. They are
available on the OLYMPIC at the 8' pitch on the Solo Manual, 8T and 4' pitches
on the Accompaniment Manual, 16', 8' and 4' pitches on the Great Manual, and
at the 16' and 8' pitches in the Pedal. For a characteristic Church Organ effect,
use both the Tibias and Diapasons at the 8' and 4' pitches with the Tremulants
off.
STRINGS
Organ Strings resemble the sound of the String section in a symphony
orchestra. This tone contrasts with the Tibia. It is thin, keen, has many
overtones and has a limited fundamental tone. The Strings add !ledge!l to the
organ ensemble and "sing" when played alone.
Use of the 8' String Celeste on the Great Manual gives the Strings the
typical lush character of a large section of violins.
REEDS
The Oboe voice is a thin solo Reed with many uses from a beautiful solo
line low on the manual to the novelty sound created when it is registered with
-7-

a4' Tibia.
The Tuba is available at the 16' and 8' pitches on the Great and Solo
Manuals and at the 8' pitch on the Accompaniment Manual. It is one of the most
colorful solo voices on the OLYMPIC. The 16' Tuba with the Tibia at 16', 8'
and 4' is an exceptionally pleasing and adaptable combination for melody lines,
both single-note and in chords. In an ensemble, the Tuba at 16' and 8' pitches
adds strength and solidity to the Tibias, Diapasons and Strings.
The Saxophone is possibly the most fascinating of the stops on your
OLYMPIC. When added to Tibias, it creates a "furry" sound with a dash of color.
When added to Strings and Celestes, one hears the thick lustrous sound so well
suited to Theatre Organ ballads. It is available at 16' and 8' pitches on the
Great Manual and at the 8' pitch on the Solo Manual.
The Clarinet voice, closely resembling its orchestral counterpart, is often
used as a solo stop as well as in ensemble registrations. The Clarinet should
not dominate the tonal ensemble, as the Clarinet in an orchestra does not
dominate the orchestral ensemble.
The Trumpet is the most brilliant of the Reed voices, having a bright
tone quality. It plays at the 16' and 8' pitches on the Great Manual, 8' pitch
on the Solo Manual and at the 16' pitch in the Pedal.
TUNED PERCUSSIONS
The OLYMPIC offers a fine selection of Tuned Percussions. Realistic
Piano, Harpsichord and Harp voices sound at unison pitch on the Solo Manual.
The Accompaniment contains the Chrysoglott and 4' Harp. The 30-note metal-
bar Glockenspiel, separate from the console and attached by cable, plays from
the Solo Manual. The mechanical Glockenspiel's handsome wood case has a
-8-
a4' Tibia.
The Tuba is available at the 16' and 8' pitches on the Great and Solo
Manuals and at the 8' pitch on the Accompaniment Manual. It is one of the most
colorful solo voices on the OLYMPIC. The 16' Tuba with the Tibia at 16', 8'
and 4' is an exceptionally pleasing and adaptable combination for melody lines,
both single-note and in chords. In an ensemble, the Tuba at 16' and 8' pitches
adds strength and solidity to the Tibias, Diapasons and Strings.
The Saxophone is possibly the most fascinating of the stops on your
OLYMPIC. When added to Tibias, it creates a "furry" sound with a dash of color.
When added to Strings and Celestes, one hears the thick lustrous sound so well
suited to Theatre Organ ballads. It is available at 16' and 8' pitches on the
Great Manual and at the 8' pitch on the Solo Manual.
The Clarinet voice, closely resembling its orchestral counterpart, is often
used as a solo stop as well as in ensemble registrations. The Clarinet should
not dominate the tonal ensemble, as the Clarinet in an orchestra does not
dominate the orchestral ensemble.
The Trumpet is the most brilliant of the Reed voices, having a bright
tone quality. It plays at the 16' and 8' pitches on the Great Manual, 8' pitch
on the Solo Manual and at the 16' pitch in the Pedal.
TUNED PERCUSSIONS
The OLYMPIC offers a fine selection of Tuned Percussions. Realistic
Piano, Harpsichord and Harp voices sound at unison pitch on the Solo Manual.
The Accompaniment contains the Chrysoglott and 4' Harp. The 30-note metal-
bar Glockenspiel, separate from the console and attached by cable, plays from
the Solo Manual. The mechanical Glockenspiel's handsome wood case has a
-8-

hinged top that can be raised or lowered to adjust the volume.
On the following page is the stop list of the OLYMPIC.
-9-
hinged top that can be raised or lowered to adjust the volume.
On the following page is the stop list of the OLYMPIC.
-9-

RODGERS OLYMPIC
RODGERS OLYMPIC

NON-SPEAKING STOP TABS AND SPECIAL FEATURES
VOICING TABLETS
Voicing Tablets, used for shading and general tonal balance, yield a
flexibility that was not possible on traditional Theatre Organs. When used,
ff tabs increase the volume level of the specified voices. For example, hold
a chord on the Great Manual with the 8' Tibia Clausa, 4' Piccolo, 8' Oboe and
8' Diapason stops down. Now depress the Tibia ff tab, and notice the pro-
portional increase in Tibia loudness.
The Accompaniment Soft tab affects all voices on the Accompaniment
Manual.
These tablets are used sparingly. They are most effective when it is
desirable for a single voice to be louder, for effect.
TREMULANTS
The OLYMPIC has four Tremulant controls to create the moving tone
colors characteristic of the grand old Theatre Organs. The Main Vibrato
affects all voices except the Tibia Clausa and Saxophone. The Main Tremulant
affects only Diapasons, the Clarinet and Strings. The Tibia-Sax Tremulant
affects only the Tibia Clausa and Saxophone voices. Finally, the Solo Harp
Tremulant affects only the Harp on the Solo Manual.
NOTE: The Main Vibrato has an automatic cut-off switch that stops it
from functioning when the Piano, Harpsichord or Solo Harp are engaged.
-11-
NON-SPEAKING STOP TABS AND SPECIAL FEATURES
VOICING TABLETS
Voicing Tablets, used for shading and general tonal balance, yield a
flexibility that was not possible on traditional Theatre Organs. When used,
ff tabs increase the volume level of the specified voices. For example, hold
a chord on the Great Manual with the 8' Tibia Clausa, 4' Piccolo, 8' Oboe and
8' Diapason stops down. Now depress the Tibia ff tab, and notice the pro-
portional increase in Tibia loudness.
The Accompaniment Soft tab affects all voices on the Accompaniment
Manual.
These tablets are used sparingly. They are most effective when it is
desirable for a single voice to be louder, for effect.
TREMULANTS
The OLYMPIC has four Tremulant controls to create the moving tone
colors characteristic of the grand old Theatre Organs. The Main Vibrato
affects all voices except the Tibia Clausa and Saxophone. The Main Tremulant
affects only Diapasons, the Clarinet and Strings. The Tibia-Sax Tremulant
affects only the Tibia Clausa and Saxophone voices. Finally, the Solo Harp
Tremulant affects only the Harp on the Solo Manual.
NOTE: The Main Vibrato has an automatic cut-off switch that stops it
from functioning when the Piano, Harpsichord or Solo Harp are engaged.
-11-

COMBINATION ACTION
One of the exciting features of the OLYMPIC is a combination action that
is adjustable from the console. This enables the organist to select favorite
registrations and to make rapid changes of tone color.
The pistons are divided into two types. Those which capture the combin-
ation for all manuals and pedal are called General pistons. There are 6 of these
pistons located on the Solo Manual piston rail. Those pistons which affect only
one manual or pedal are called Divisional pistons. There are 4 of these for
each manual and pedal. They are located on each manual's piston rail.
How to set the pistons:
1. Turn on the keylock for the Memory.
2. Select your registration.
3. Push the Set piston and hold.
4. While pushing the Set piston, push the desired piston then
release both pistons simultaneously.
can also add a stop tab to your combination on any piston, by putting the
desired stop tab down and holding it down, while pushing the piston you want
to add to. Use the reverse procedure for taking off a stop tab.
EXPRESSION AND CRESCENDO PEDALS
The OLYMPIC has two Expression Pedals and a Crescendo Pedal. The
pedal on 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 stops already set up on the organ. but merely adds to them.
The center pedal is the Solo Expression Pedal which controls the volume
of OLYMPIC's solo voices consisting of Brass. Tibias and Percussions
-12-
COMBINATION ACTION
One of the exciting features of the OLYMPIC is a combination action that
is adjustable from the console. This enables the organist to select favorite
registrations and to make rapid changes of tone color.
The pistons are divided into two types. Those which capture the combin-
ation for all manuals and pedal are called General pistons. There are 6 of these
pistons located on the Solo Manual piston rail. Those pistons which affect only
one manual or pedal are called Divisional pistons. There are 4 of these for
each manual and pedal. They are located on each manual's piston rail.
How to set the pistons:
1. Turn on the keylock for the Memory.
2. Select your registration.
3. Push the Set piston and hold.
4. While pushing the Set piston, push the desired piston then
release both pistons simultaneously.
can also add a stop tab to your combination on any piston, by putting the
desired stop tab down and holding it down, while pushing the piston you want
to add to. Use the reverse procedure for taking off a stop tab.
EXPRESSION AND CRESCENDO PEDALS
The OLYMPIC has two Expression Pedals and a Crescendo Pedal. The
pedal on 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 stops already set up on the organ. but merely adds to them.
The center pedal is the Solo Expression Pedal which controls the volume
of OLYMPIC's solo voices consisting of Brass. Tibias and Percussions
-12-

stUd.
stud.
(not necessarily the voices on the Solo Manual). The Main Expression Pedal
is on the left. It controls the remainder of the voices which are Foundations,
Strings, Piano, the. traps and the Pedal. The Glockenspiel is not affected by
the Expression Pedals.
The Piano Sustain switch is located on the left side of the Main Expression
Pedal. Push to the with your foot to cause the Piano stop to sustain.
SFORZANDO PISTON AND TOE STUD
Your OLYMPIC has a true Sforzando (Sfz) Piston, duplicated by a toe
For a quick accent of full organ, push the piston or depress the toe
Full organ will stay on only as long as you hold the Sfz button.
RODGERS PRACTICE PANEL
The OLYMPIC's Practice Panel is a standard feature. Its small, attractive
control panel is located just to the right of the manuals. This unit includes a
control to adjust reverberation. a connection for your stereo headphones that
allows you to play "silently", and connections for a tape recorder to allow
recording or playing along with pre-recorded tapes.
How to operate the Rodgers Practice Panel:
1. Reverb knob turns clockwise to increase reverberation.
2. Stereo headphones can be plugged into either jack labeled
"Headphones . II Two sets can be accommodated.
3. Pull the Reverb knob out to turn the external speakers off for
headphone listening only.
4. Pull the Tape Level knob ~ to record from the organ. Recorder
leads plug into the two top jacks labeled IfTolf. The Expression
-13-
stUd.
stud.
(not necessarily the voices on the Solo Manual). The Main Expression Pedal
is on the left. It controls the remainder of the voices which are Foundations,
Strings, Piano, the. traps and the Pedal. The Glockenspiel is not affected by
the Expression Pedals.
The Piano Sustain switch is located on the left side of the Main Expression
Pedal. Push to the with your foot to cause the Piano stop to sustain.
SFORZANDO PISTON AND TOE STUD
Your OLYMPIC has a true Sforzando (Sfz) Piston, duplicated by a toe
For a quick accent of full organ, push the piston or depress the toe
Full organ will stay on only as long as you hold the Sfz button.
RODGERS PRACTICE PANEL
The OLYMPIC's Practice Panel is a standard feature. Its small, attractive
control panel is located just to the right of the manuals. This unit includes a
control to adjust reverberation. a connection for your stereo headphones that
allows you to play "silently", and connections for a tape recorder to allow
recording or playing along with pre-recorded tapes.
How to operate the Rodgers Practice Panel:
1. Reverb knob turns clockwise to increase reverberation.
2. Stereo headphones can be plugged into either jack labeled
"Headphones . II Two sets can be accommodated.
3. Pull the Reverb knob out to turn the external speakers off for
headphone listening only.
4. Pull the Tape Level knob ~ to record from the organ. Recorder
leads plug into the two top jacks labeled IfTolf. The Expression
-13-

Pedal will regulate the volume going to the tape deck.
5. To play tapes back through the organ, move the leads to the two
bottom
jacks on the organ panel and from the input to the output
jacks on your recorder. Push in the Tape Level knob, and it
becomes the volume control for the tape being played back.
&TRAPS
Your
OLYMPIC includes a new and sophisticated rhythm section called
Rlllythrnlak.er that is based on a four-measure rhythm pattern. Rhythmaker
patt€~rn.s were developed through consultation with afamous percussionist and
include the slight variance of a live performer, giving appeal and interest to
rhythm patterns.
The Rhythmaker is started by the Rhythm piston on the Great Manual
piston rail. The desired rhythm pattern may be selected from one of the twelve
tablets. control for Rhythmaker volume is located on the left
Manual. Pattern speed is adjustable with the control on the
of the Accompaniment Manual. A digital readout on the stoprail auto-
indicates pattern of each measure, and you always know where you
are, because the llDownbeat Indicator" flashes on the first beat of each measure.
The Rhythm stop tablets can be programmed into the General pistons.
however, the toggle switch on the left of the console (under the stop rail)
enl;;a{l~ed, you can change pistons without affecting your selected Rhythm pattern.
Your Rodgers OLYMPIC has a complete set of Traps (Non-tuned Percussion)
are playable on the Pedal and Accompaniment Manual. These include the
, Cymbal, Wood Block, Chinese Block, Snare Drum and Tambourine.
volume the Traps controlled by the Rhythmaker volume, located on
-14-
Pedal will regulate the volume going to the tape deck.
5. To play tapes back through the organ, move the leads to the two
bottom
jacks on the organ panel and from the input to the output
jacks on your recorder. Push in the Tape Level knob, and it
becomes the volume control for the tape being played back.
&TRAPS
Your
OLYMPIC includes a new and sophisticated rhythm section called
Rlllythrnlak.er that is based on a four-measure rhythm pattern. Rhythmaker
patt€~rn.s were developed through consultation with afamous percussionist and
include the slight variance of a live performer, giving appeal and interest to
rhythm patterns.
The Rhythmaker is started by the Rhythm piston on the Great Manual
piston rail. The desired rhythm pattern may be selected from one of the twelve
tablets. control for Rhythmaker volume is located on the left
Manual. Pattern speed is adjustable with the control on the
of the Accompaniment Manual. A digital readout on the stoprail auto-
indicates pattern of each measure, and you always know where you
are, because the llDownbeat Indicator" flashes on the first beat of each measure.
The Rhythm stop tablets can be programmed into the General pistons.
however, the toggle switch on the left of the console (under the stop rail)
enl;;a{l~ed, you can change pistons without affecting your selected Rhythm pattern.
Your Rodgers OLYMPIC has a complete set of Traps (Non-tuned Percussion)
are playable on the Pedal and Accompaniment Manual. These include the
, Cymbal, Wood Block, Chinese Block, Snare Drum and Tambourine.
volume the Traps controlled by the Rhythmaker volume, located on
-14-

the left end of the Great Manual.
TRANSPOSER
The TransposeI' is a standard feature on the OLYMPIC. It will raise or
lower pitch of the organ four semitones (half-steps) in either direction.
The TransposeI' is controlled by eight pistons and a neutral position piston on
the right of the Solo Manual piston rail.
The TransposeI' allows you to play music in a key different from the one
in which is written. without having to mentally transpose the music as you
Simply select the number of half-steps in either direction. press the
appropriate piston. and play the music as written.
Another feature of the TransposeI' is the circuit that returns the setting
to the normal pitch (0 piston). automatically. when the organ is shut off. This
avoids problem of the organ being in the wrong key the next time it is
tUl~ned on.
SYSTEM
As
Theatre Organs of the past. the speaking postions of the OLYMPIC
are separate from the console. The external speaker system has two independent
channels which attach to Rodgers speaker cabinets. These cabinets are available
utility finishes for chamber installations. or in custom finishes to match the
console or coordinate with your furnishings.
On the OLYMPIC. the "Solo Output Channel" is for the Trumpet. Oboe and
Tibia voices from the manuals, and the Solo Percussion and Pedal Tibia. The
"Main Output Channell! handles the Diapason and String voices from the manuals,
as as the Accompaniment Percussion. all Pedal voices (except the Tibia) and
all Rhythm and Traps.
-15-
the left end of the Great Manual.
TRANSPOSER
The TransposeI' is a standard feature on the OLYMPIC. It will raise or
lower pitch of the organ four semitones (half-steps) in either direction.
The TransposeI' is controlled by eight pistons and a neutral position piston on
the right of the Solo Manual piston rail.
The TransposeI' allows you to play music in a key different from the one
in which is written. without having to mentally transpose the music as you
Simply select the number of half-steps in either direction. press the
appropriate piston. and play the music as written.
Another feature of the TransposeI' is the circuit that returns the setting
to the normal pitch (0 piston). automatically. when the organ is shut off. This
avoids problem of the organ being in the wrong key the next time it is
tUl~ned on.
SYSTEM
As
Theatre Organs of the past. the speaking postions of the OLYMPIC
are separate from the console. The external speaker system has two independent
channels which attach to Rodgers speaker cabinets. These cabinets are available
utility finishes for chamber installations. or in custom finishes to match the
console or coordinate with your furnishings.
On the OLYMPIC. the "Solo Output Channel" is for the Trumpet. Oboe and
Tibia voices from the manuals, and the Solo Percussion and Pedal Tibia. The
"Main Output Channell! handles the Diapason and String voices from the manuals,
as as the Accompaniment Percussion. all Pedal voices (except the Tibia) and
all Rhythm and Traps.
-15-

AND MAINTENANCE OF YOUR RODGERS OLYMPIC
with any fine musical instrument, reasonable care is necessary to protect
your investment in your Rodgers OLYMPIC. Normally, you should experience no
diJt'fi,mltiEls, because your organ has been carefully designed, and only the finest
parts are used in its manufacture. Even the finest equipment, however,
to occasional service. Your Rodgers Representative is fully equipped
qualified to handle any service problems which may arise.
Your new Rodgers OLYMPIC is not only a fine musical instrument, but also
a piece of custom made furniture, finished to hold its attractiveness through
generations of use. Only the best woods are used, carefully checked for uni-
grain intensity of figure and carefully hand assembled. As each
coat is applied, thoroughly dried and hand rubbed before the next
coat rUbbing results in a finish that is lasting and easy
to Following are afew tips on caring for your Rodgers
A with a soft, clean cloth is usually all that is required.
a finish, a small amount of Guardsman's Polish on the cloth will
the organ smudge free and help remove fingerprints. Waxes, oils. or
silicone base polishes should not be used. Always wipe the surfaces with
using • even strokes.
-16-
AND MAINTENANCE OF YOUR RODGERS OLYMPIC
with any fine musical instrument, reasonable care is necessary to protect
your investment in your Rodgers OLYMPIC. Normally, you should experience no
diJt'fi,mltiEls, because your organ has been carefully designed, and only the finest
parts are used in its manufacture. Even the finest equipment, however,
to occasional service. Your Rodgers Representative is fully equipped
qualified to handle any service problems which may arise.
Your new Rodgers OLYMPIC is not only a fine musical instrument, but also
a piece of custom made furniture, finished to hold its attractiveness through
generations of use. Only the best woods are used, carefully checked for uni-
grain intensity of figure and carefully hand assembled. As each
coat is applied, thoroughly dried and hand rubbed before the next
coat rUbbing results in a finish that is lasting and easy
to Following are afew tips on caring for your Rodgers
A with a soft, clean cloth is usually all that is required.
a finish, a small amount of Guardsman's Polish on the cloth will
the organ smudge free and help remove fingerprints. Waxes, oils. or
silicone base polishes should not be used. Always wipe the surfaces with
using • even strokes.
-16-

LEVELING GLIDES
To assure optimum performance and life of the moving parts of the console,
it should always be level. Uneven floors tend to distort the case over a period
of time, and extreme stresses will damage the casework and equipment. The
leveling glides are under each corner of the console and bench and are mounted
on threaded These may be adjusted as much as 1 1/2 inches to
co:mp,ensa1:e for irregularities in the floor. A simple spirit level can assure the
most accurate settings.
-17-
LEVELING GLIDES
To assure optimum performance and life of the moving parts of the console,
it should always be level. Uneven floors tend to distort the case over a period
of time, and extreme stresses will damage the casework and equipment. The
leveling glides are under each corner of the console and bench and are mounted
on threaded These may be adjusted as much as 1 1/2 inches to
co:mp,ensa1:e for irregularities in the floor. A simple spirit level can assure the
most accurate settings.
-17-

RODGERS FIVE-YEAR LIMITED WARRANTY
The Rodgers Organ Company warrants every part of your Rodgers console
against defective materials or workmanship for a period of five years beginning
on the date of original purchase from an authorized Rodgers dealer. IT IS
IMPORTANT THAT
YOU COMPLETE THE WARRANTY REGISTRATION CARD
ATTACHED
TO THIS MANUAL AND RETURN IT TO US TO VALIDATE YOUR
WARRANTY.
Rodgers! Limited Warranty provides any needed replacement parts during
its five-year term. Labor in connection with the replacement of parts is not
covered by the factory warranty. Contact your authorized Rodgers dealer for
tie'_a.!."", on his labor warranty.
Complete factory warranty terms are spelled out in the Rodgers Limited
WRl"l":,mrv certificate available at your Rodgers dealer or mailed to you upon
your Warranty Registration Card.
-18-
RODGERS FIVE-YEAR LIMITED WARRANTY
The Rodgers Organ Company warrants every part of your Rodgers console
against defective materials or workmanship for a period of five years beginning
on the date of original purchase from an authorized Rodgers dealer. IT IS
IMPORTANT THAT
YOU COMPLETE THE WARRANTY REGISTRATION CARD
ATTACHED
TO THIS MANUAL AND RETURN IT TO US TO VALIDATE YOUR
WARRANTY.
Rodgers! Limited Warranty provides any needed replacement parts during
its five-year term. Labor in connection with the replacement of parts is not
covered by the factory warranty. Contact your authorized Rodgers dealer for
tie'_a.!."", on his labor warranty.
Complete factory warranty terms are spelled out in the Rodgers Limited
WRl"l":,mrv certificate available at your Rodgers dealer or mailed to you upon
your Warranty Registration Card.
-18-