Rodgers The trio User manual

OWNER'S MANUAL

TRIO 321

RODGERS ORGAN COMPANY

TABLE OF CONTENTS

RODGERS

TRIO

321 OWNER'S MANUAL

Introduction...

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

The

Console

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Solo

Manual.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Great

Manual.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Accompaniment

Manual.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Pedal

board.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Stop

Tabs

..................................................

. . 4

Speaking

Stops

on

the

Trio

321.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

The

Tibias

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

The

Diapasons

.........

.

......................................

7

The

Strings

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

The

Reeds

.....................................................

9

Oboe

.........................................................

9

Vox

Humana

........................................

.

..........

9

Clarinet

......................................................

9

Tuned

Percussion

..................................

.

............

10

Piano

........................................................

10

Harpsichord

.................

.

.................................

10

Harp

and

Carillon

.............................................

10

Traps

...........................................................

11

Trio

Controls

....................................................

12

Expression

Pedals

..............................................

12

Voicing

Tabs

...................................................

12

Tremulant

Tabs

................................

~

.................

13

Organ

Mute

......................................................

13

Lighted

Double-Touch

Preset

Action

.......

·

........................

14

Rodgers

Practice

Panel.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

The

Art

of

Organ

Registration

.....................................

18

Registration

Hints

................................................

21

The

Care

and

Maintenance

of

the

Rodgers

Trio

321

.................................................

28

Console

and

Pedalboard.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

28

Keyboards

and

Stop

Tabs

...............

.

.........

;

..............

28

Leveling

Glides

.................................................

29

Rodgers

Limited

Warranty

.....................................

.

..

30

The

pleasure

of

owning

a

Rodge!s

Trio

begins

the

very

_

first

day

it

comes

into

your

home.

And

your

enjoyment

will

increase

as

you

become

more

familiar

with

the

design

of

this

fine

musical

instrument

. . .

its

vast

musical

resources

. . .

its

full,

rich,

exciting

theatre

organ

.

sound.

Slide

onto

the

bench

and

get

acquainted

.

Listen

to

the

characteristic

tonal

qualities

of

the

individual

Trio

voices.

Sample

the

Toy

Counter's

traps

and

the

tuned

percussions.

Use

the

Rodgers

exclusive

Rhythmaker,

with

its

four-measure

rhythm

patterns.

A

new

world

of

musical

pleasure

will

unfold

as

you

discover

each

musical

nuance

that

lies

beneath

your

fingers.

On

the

following

pages

are

some

of

the

outstanding

and

unique

features

of

the

Rodgers

Trio.

-1-

The

Rodgers

Trio

has

three

61-note

keyboards

and

a

full

32-note

pedalboard.

The

tones

of

this

organ

range

in

pitch

from a

bass

note

lower

than

the

lowest

tones

of

the

brass

tuba

to

a

treble

note

beyond

the

highest

tone

of

the

orchestral

piccolo.

The

Trio

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

Trio.

The

Trio

is

a

theatre

organ

designed

for

the

horne. On

theatre

organs,

as

on

classic

organs,

each

keyboard

(or

manual)

has

its

own

name:

MANUAL

Upper

Manual

Middle

Manual

Lower

Manual

THEATRE

ORGAN

Solo

Great

Accompaniment

CLASSIC ORGAN

Swell

Great

Choir

The

Accompaniment

Manual

is

level.

The

Great

Manual

tilts

slightly

forward.

The

Upper

Manual

has

a

more

pronounced

tilt.

Overhanging

and

tilting

keyboards

make

it

easy

to move

your

hands

from

one

manual

to

another.

-2-

SOLO

MANUAL

This

manual

is

generally

used

for

single

note

melodies,

because

of

the

incisive

quality

of

the

Solo

Voices.

This

manual

provides

voices

which

contrast

the

more

sonorous

sounds

of

the

Accompaniment.

All

four

tone

families

are

represented

on

the

Solo

Manual.

Pitches

range

from

the

16'

Tibia

Clausa

to

the

4'

Piccolo.

The

Glockenspiel,

which

is

mounted

under

the

lid

of

the

Trio,

is

played

from

the

Solo

Manual

with

the

appropriate

stop

tab

depressed

on

the

Stop

Rail.

It

is

also

included

as

part

of

the

registration

of

preset

piston

#1.

The

Glockenspiel's

musical

notes

are

independent

of

the

Trio

voicing

controls

(tremulants

,

sustains

,

etc

. ) .

GREAT

MANUAL

This

manual

is

characterized

by

its

large

number

of

voices

and

pitches,

special

effects,

and

the

big,

full

sounds

so

reminiscent

of

the

traditional

Theatre

Organ.

In

addition

to

all

voice

families

at

the

8'

pitch,

the

Great

Manual

contains:

three

16'

stops--

Bombarde,

Tibia

Clausa,

and

Vox

Humana;

three

mutation

stops--5-1/3'

Quint,

2-2/3'

Twelfth,

and

1-3/5'

Tierce;

a Piccolo

at

4'

and

2';

a 1'

Fife,

and

four

Tuned-

Percussion

stops--

Harp,

Carillon,

Piano

and

Harpsichord.

Both

the

Piano

and

Harpsichord

may

be

used

in

combination

with

any

other

voice

on

the

organ.

The

ff

Piano

tab

increases

the

loudness

of

both

Piano

and

Harpsichord

voices.

-3-

ACCOMPANIMENT MANUAL

This

manual,

as

its

name

implies,

is

most

often

used

for

back-

ground

while

the

melody

is

played

on

the

Solo

or

Great

Manual.

The

Accompaniment

voices

are

softer

than

those

of

the

upper

two

manuals

and

provide

a

soft,

yet

full

background

for

more

subtle

combinations

used

in

the

melody.

The

Accompaniment

Manual

contains

the

complete

tone

family

at

8'

pitch,

plus

a

4'

Piccolo,

a 4'

Viol,

and

two

Toy

Counter

stops

(Tambourine

and

Chinese

Block).

For

additional

loud-

ness,

there

is

an

Accompaniment

ff

stop

which

increases

the

volume

of

the

Accompaniment

speaking

voices.

PEDALBOARD

Because

the

Rodgers

Trio

Pedal

board

is

concave

and

radiating,

a

relaxed

-

and

natural

swing

of

the

legs

brings

your

feet

within

easy

reach

of

all

32

pedals.

The

Trio

pedal

provides

a

wide

range

of

pitch

and

tonal

color,

including

two

percussion

effects

(Bass

Drum

and

·

Cymbal).

A

separate

Pedal

Sustain

Tab

controls

the

individual

pedal

voices.

There

is

a

Pedal

ff

stop

which

increases

the

volume

of

the

Pedal

voices.

STOP TABS

The

colorful

array

of

illuminated

Stop

Tabs,

arranged

in

a

graceful

curve

·

on

the

stop

rail

above

the

keyboards,

contains

46

speaking

voices

(tone

producing

sounds)

and

14

nonspeaking

stops

(which

modify

or

control

tones

produced

by

the

speaking

stops).

The

color

of

the

individual

Stop

Tabs

indicates

the

voice

family

to

which

that

stop

belongs:

White

for

Tibia,

Flute,

and

Diapason;

Amber

for

Strings;

Red

for

Reeds;

Gray

and

Black

for

Percussion.

-4-

SPEAKING STOPS

The

speaking

stops

are

grouped

on

the

stop

rail

in

a

traditional

Theatre

Organ

console

layout.

On

the

extreme

left

are

the

pedal

stops;

the

accompaniment

manual

stops

are

next;

then

the

great

manual

stops;

and

finally

,

on

the

extreme

right

,

the

solo

manual

stops

.

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

designation

of

pitch

by

footage

is

the

.

same

as

the

system

used

in

pipe

organ

nomenclature.

An

open

pipe

eight

feet

long

produces

the

lowest

tone

(bottom C

on

the

manual)

of

an

8'

stop.

The

8'

stops

are

called

the

"Unison

Pitch"

of

the

organ.

That

is,

Middle

C

played

with

an

8'

stop

has

the

same

pitch

as

Middle

C

on

a

piano.

A 16'

stop

sounds

an

octave

below

Unison

Pitch,

a 4'

stop

sounds

an

octave

above,

a 2'

stop

sounds

two

octaves

above,

and

a 1'

stop

sounds

three

octaves

above.

In

addition

to

the

octave

sounding

stops,

there

are

the

"Mutation"

stops:

A

5-1/3'

Quint

(sounds

a

fifth

above

Unison

Pitch)

A

2-2/3'

Twelfth

(sounds

an

octave

and

a fifth

above

Unison

Pitch)

A

1-3/5'

Tierce

(sounds

two

octaves

and

a

third

above

Unison

Pitch)

-5-

For

example:

By

playing

Middle

C

on

the

Great

with

a

5-1/3'

Quint,

the

G

above

Middle

C

will

sound.

The

5-1/3'

Quint,

the

2-2/3'

Twelfth,

and

the

1-3/5'

Tierce

should

never

be

played

alone;

the

Tierce

should

only

be

used

in

combination

with

the

5-1/3'

Quint

or

2-2/3'

Twelfth.

Their

function

is

to

provide

tonal

color

and

shading.

Mutations

should

be

used

with

much

discretion.

Unless

a

special

effect

is

desired,

mutations

should

be

used

sparingly

.

-6

-

THE TIBIAS

The

powerful,

yet

gentle

flute-like

Tibia

Voices

are

the

foundation

tones

of

the

Theatre

Organ.

Traditionally,

the

Tibia

Voices

attain

their

unique

character

by

a

deep

and

fairly

rapid

Vibrato.

The

smooth

and

plaint

qualities

of

the

Tibia

make

it

adaptable

to

a

variety

of

playing

techniques:

As

a

single

solo

voice

for

a

melodic

line

using

one

note

or

octaves

at

Unison,

in

Octaves,

and

in

double

Octaves;

As

accompaniment

for

solo

strings

and

reeds;

As

the

foundation

tone

in

a

full

ensemble.

To

take

advantage

of

the

versatility

-

of

Tibias,

the

Trio

has

Tibia

Voices

at

eight

different

pitches

supplied

·

by

independent

and

individually-

tuned

sound

sources

(oscillators).

THE DIAPASONS

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

Trio

at

8'

pitch

on

all

three

manuals,

and

at

16'

and

8'

on

the

pedal.

For

a

characteristic

church

organ

effect,

use

both

the

4'

Piccolo

and

the

8'

Diapason

with

all

Tremulants

off.

-7-

THE STRINGS

Organ

Strings

are

not

exactly

imitative,

but

they

resemble

the

sound

of

the

String

section

in

a

symphony

orchestra.

The

tone

is

the

opposite

of

the

Tibia:

it

is

thin,

keen,

has

many

overtones,

and

has

a

limited

fundamental

tone.

The

Strings

add

"edge"

to

the

organ

ensemble,

and

"sing"

when

played

alone.

The

Solo

String

voice

on

the

Solo

manual

provides

a

beautiful

violin-like

color

in

its

upper

register

and

a

sonorous

cello

quality

in

the

lower

register

.

-8-

THE REEDS

·OBOE

This

voice

(often

suggested

for

love

ballads

in

theatre

organ

registration)

is

plaintive,

sombre,

sweet--even

haunting.

It

is

best

used

by

itself

or

with

a

Piccolo

4'

and

Tremulants.

TUBA

(Tuba

Mirabilis

and

Bombarde)

Available

at

16'

pitch

(Bombarde)

on

the

Pedal,

at

8'

on

the

Solo

and

Accompaniment

manuals,

and

at

16'

and

8'

on

the

Great,

the

Tuba

is

one

of

the

most

colorful

solo

voices

on

the

Trio.

The

16'

Bombarde

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'

pitch

adds

strength

and

solidity

to

the

Tibias

,

Diapasons

,

and

Strings

.

VOX

HUMANA

This

sibilant

stop

imitates

the

quality

of

the

human

voice.

It

is

useful

for

solo

playing

when

a

soft,

plaintive

effect

is

desired.

The

Vox

Humana

blends

well

with

both

Tibias

and

Strings

for

solo

and

Accompaniment

playing.

The

Vox

Humana

is

available

at

16'

on

the

Great

manual

and

at

8'

on

the

Accompaniment

manual.

CLARINET

This

stop,

closely

resembling

its

orchestral

counterpart,

is

often

used

as

a

solo

voice

as

well

as

an

ensemble

voice.

The

Clarinet

should

not

dominate

the

total

ensemble,

as

the

clarinet

in

an

orchestra

does

not

dominate

the

orchestral

ensemble.

-9-

TUNED PERCUSSION

PIANO

To

complete

the

variety

of

sounds

at

your

fingertips,

the

Rodgers

Trio

includes

a

fine

Piano

at

unison

pitch

on

the

Great

Manual.

The

Piano

may

be

played

by

itself

or

in

a

combination

with

other

voices

on

the

Great

Manual.

The

Piano

Sustain

switch,

located

to

the

left

of

the

Expression

Pedal,

extends

the

duration

of

the

piano

sound

for

Legato

playing.

Without

sustain,

the

Piano

has

a

bright,

crisp

sound,

which

may

be

emphasized

with

the

ff

Piano

tab.

HARPSICHORD

Here

is

a

delightful

voice

with

an

amazing

resemblance

to

its

mechanical

cousin.

Like

the

Trio

Piano,

the

Harpsichord

is

a

complete

musical

instrument

in

itself.

HARP

AND

CARILLON

The

Trio

Carillon

(Church

Bells)

is

played

one

note

at

a

time.

The

Carillon

tab

automatically

cuts

out

the

Tibia

tremulants

which

would

otherwise

interfere

with

the

sound

of

this

stop.

Create

the

most

charac-

teristic

Harp

effects

with

arpeggios

and

glissandos.

-10-

TRAPS

Since

"total

entertainment"

underlies

the

design

of

any

fine

theatre

organ,

a

complete

set

of

Traps,

in

addition

to

Tuned

Percus-

sion,

is

included

in

the

Rodgers

Trio.

The

Traps

are

available

on

the

Accompaniment

Manual

and

in

the

Pedal.

The

Trap

names

are:

Pedal:

Bass

Drum,

Cymbal

Accompaniment:

Tambourine,

Chinese

Block

-11-

TRIO CONTROLS

EXPRESSION PEDALS

The

Expression

Pedal

controls

the

over-all

volume

or

loudness

of

the

Trio.

As

its

name

implies,

the

Expression

Pedal

is

used

to

give

variety

or

expression

to

the

music

played.

Pressing

the

pedal

forward

increases

the

volume.

Drawing

back

on

the

pedal

decreases

the

volume.

The

Expression

Pedal

affects

all

stops

on

the

organ.

VOICING TABS

Voicing

Tabs,

used

for

shading

and

general

tonal

balance,

yield

a

flexibility

not

possible

on

Theatre

Pipe

Organs

. When

an

ff

tab

is

depressed,

the

over-all

volume

of

the

voices

indicated

on

that

tab

will

increase.

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

ff

Tibia

tab

and

notice

the

proportional

increase

in

Tibia

loudness

.

The

ff

Main

voicing

tab

emphasized

the

Diapasons

,

Strings,

and

Reeds.

The

ff

Pedal

tab

affects

all

voices

in

the

pedal

division.

The

ff

Accompaniment

affects

all

voices

on

the

Accompaniment

Manual.

The

"Tibia

Bright"

Tab

accentuates

the

upper

range

of

the

Tibias

without

increasing

the

loudness

of

the

Tibias

in

the

lower

ranges.

With

the

"Tibia

Bright"

Tab

depressed,

the

Tibias

take

on

a

brighter

quality.

The

Tibia

Sustain

Tab

causes

the

Tibia

voices

on

the

Great

and

Accompaniment

to

sustain;

that

is,

the

tone

will

take

longer

to

die

away

after

the

key

is

struck

.

For

the

bright

,

crisp

sound

of

the

Tibias,

play

without

sustain;

add

Sustain

for

a

smooth,

flowing

effect.

(The

Tibia

Sustain

tab

does

not

affect

the

Tibia

voices

on

the

Solo

Manual.)

-12-

TREMULANT TABS

These

tabs

are

used

to

create

the

moving

tone

colors

so

characteristic

of

Theatre

Organs

.

Strictly

speaking,

a

tremulant

is

a

variation

in

amplitude

O.oudness)

while

the

vibrato

is

a

vari-

ation

in

pitch.

On

the

Trio,

the

vibrato

tabs

produce

variations

in

pitch

only.

The

Tremulant

Tabs

produce

slight

variations

in

the

loudness.

The

Tremulant

and

Vibrato

Tabs

may

be

used

together

for

a

more

authentic

and

pleasing

effect

.

The

Tibia

Tremulant

and

Tibia

Vibrato

affect

the

Tibia

voices;

the

Main

Tremulant

and

Main

Vibrato

affect

the

Diapason,

Strings,

and

Reeds.

The

two

tabs

that

are

marked

"Leslie

Chorus"

and

"Leslie

Vibrato"

affect

the

Tibias

only.

The

Leslie

Chorus

produces

a

slow

choral

motion

while

the

Leslie

Vibrato

produces

a

fast

Tremulant

effect.

ORGAN MUTE

This

piston

lowers

the

volume

O.oudness)

of

the

entire

organ.

With

the

Organ

Mute

on

and

the

Expression

Pedal

closed,

the

Trio

may

be

played

with

full

registrations,

yet

sound

no

louder

than

a

whisper'.

-13-

/

LIGHTED DOUBLE-TOUCH

PRESET

ACTION

The

Lighted

Double-Touch

Preset

Action--unique

to

Rodgers--is

one

of

the

most

useful

and

convenient

features

on

the

Trio.

The

Preset

Pistons

used

with

individual

stops

on

the

Stop

Rail

allow

the

organist

to

change

registrations

instantly.

The

Lighted

Preset

Pistons

(numbered

1

through

5)

are

located

under

the

Great

Manual.

Each

piston

operates

a

(preset)

combination

of

stops

for

all

three

manuals

and

the

pedal.

The

combination

on

piston

number

1

is

light;

pistons

2

through

5

have

progressively

heavier

combi-

nations.

The

preset

pistons

are

lighted

to

show

the

player

which

piston

is

on.

A

light

touch

on

a

piston

will

add

that

piston's

combination

to

whatever

is

already

on

the

organ.

A

light

touch

of

the

second

piston,

for

example,

will

add

preset

combination

#2

to

the

stops

already

down

on

the

stop

rail.

Any

or

all

the

other

four

preset

combinations

may

be

added

with

a

light

touch

of

the

piston

or

pistons

desired.

Firm

pressure

on

a

piston

will

clear

the

stop

rail,

as

well

as

any

other

preset

combination,

leaving

only

the

combination

of

the

piston

which

has

been

firmly

pressed.

(NOTE:

While

playing

with

preset

registrations

only--i.e.

,

"Stop

Rail

On"

indicator

light

is

on--you

may

change

the

combination

of

voices

on

the

stop

rail

without

affecting

the

sound

of

the

organ

.)

The

Sforzando

piston

instantly

brings

on

full

organ

by

activating

combinations

2

through

5 .

Cancel

the

Sforzando

by

firmly

pressing

any

,

of

the

other

preset

pistons,

or

the

Stop

Rail

piston.

-14-

The

Trio

Lighted

Double-Touch

Preset

Action

lets

you

change

musical

colors

without

lifting

your

hands

from

the

keyboard--putting

an

entire

spectrum

of

tonal

combination

right

under

your

thumb!

The

following

chart

shows

the

registrations

contained

on

each

of

the

five

preset

pistons.

These

Pistons

control

a

pre-selected

group

of

stop

tabs.

Here

is

a

list

of

stops

on

each

piston:

PISTON PEDAL ACCOMPANIMENT GREAT SOLO

#1

8'

Flute

8'

Tibia

8'

Piano

8'

Tibia

8'

Salcional

Glockenspiel

#2

16'

Bourdon

8'

Tibia

8' Viol 8'

Tibia

8'

Flute

8'

Salcional

4'

Piccolo

4'

Piccolo

#3

16'

Bourdon

8'

Tibia

8'

Tuba

16'

Tibia

8'

Flute

8'

Salcional

8'

Open

Diapason

4'

Piccolo

4'

Viol

8'

Tibia

4'

Piccolo

#4

16'

Bourdon

8'

Tibia

8'

Tibia

8'

Oboe

8'

Flute

4'

Piccolo

2'

Piccolo

4'

Piccolo

1'

Fife

#5 16'

Diaphone

8'

Open

Diapason

16'

Bombarde

16'

Tibia

16'

Tibia

8'

Tibia

16'

Tibia

8'

Tibia

8'

Open

Diapason

8'

Tibia

4'

Piccolo

4'

Piccolo

8'

Open

Diapason

2'

Piccolo

NOTE:

The

following

stop

tabs

are

NOT

affected

by

the

cancelling

action

of

the

Preset

Pistons

(Second

Touch)

and

can

be

cancelled

only

by

turning

off

(up)

the

stop

tab:

All

Tremulants

Pedal

Sustain

Tambourine

Clarinet

Bass

Drum

Chinese

Block

ff

Piano

All

Voicing

Tabs

Cymbal

-l!l-

RODGERS PRACTICE PANEL

The

Practice

Panel

is

mounted

on

the

organ

console

itself,

with

a

small

control

panel

located

at

the

right

of

the

three

keyboards.

Play

"silently"

using

your

Stereo

Headphones,

improve

your

technique,

practice

without

disturbing

others,

improve

your

sense

of

registration,

and

accent

stereo

effects

with

different

speaker

combinations.

Use

your

Tape

Recorder

to

record

in

stereo

.

Play

your

music

back

through

the

high-fidelity

Trio

speaker

system

or

through

the

stereo

headphones.

These

possibilities

are

some

of

the

advantages

of

the

Practice

Panel.

The

Practice

Panel

is

designed

for

ease

of

operation.

The

Stereo

Headset

plugs

into

the

jack

labeled

"headphones"

on

the

left-

hand

side

of

the

control

panel.

Pulling

out

the

Balance

knob

(located

just

above

the

headset

.

input

jack)

cuts

off

the

main

speaker

system,

shifting

all

sound

through

the

stereo

earphones.

The

sound

to

each

ear

is

balanced

by

rotating

the

same

knob.

Overall

volume

is

set

by

the

Expression

Pedal.

The

right-hand

knob

(labeled

"Reverb")

is

turned

clockwise

to

increase

reverberation.

This

control

provides

the

amount

or

degree

of

"big

auditorium"

sound

you

desire.

The

bottom

set

of

input

jacks

is

used

to

play

back

recorded

sound

through

a

Rodgers

Sound

Companion

system.

The

Reverb

knob

must

be

pulled

out

in

order

to

record

from

the

organ

and

pushed

in

to

play

a

recording

back

through

Sound

Companion

speakers.

If

you

wish

to

hear

the

recording

through

the

stereo

headset,

-16-

Rodgers the trio User manual

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