Rodgers Windsor 840 Pipe Augmented User manual

ROlLERS
Wind~oro40
and
Wind~or 040 Pipe ]\uQ1I1ented
. Ovner~ f\anua{

r-·····_-·· -----.------.------ ..
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I-
I
OWNER'S MANUAL
FOR
ROCCERS
WINDSOR 840
AND
WINDSOR 840 PIPE AUGMENTED
RODGERS INSTRUMENT CORPORATION
1300 NE 25th Avenue
Hillsboro, Oregon 97124
1905·108

TABLE OF CONTENTS
The Rodgers Windsor 840---------
The Musical Resources of the Windsor 840---
The Principal(Diapason) Family
The Flute Family
The String FamIIJ'-------------
Celestes
The Reed Family
Percussions
1
2
3
II
I
I
I
I
I
7
6
8
9
4
5
Stopand Coupler List-----------
Rodgers Handcrafted Plpes---------
Special Features:
Tum-OnlTurn-Otr
Couplers
DualMemory Combination Action
To Set the Memory .4ccess Codes-------
To linlock aMemory
How to Set the Pistons
Chorus Control
Chinand Air Puff
Tremulants-----------·----
The Continuo Piston
Solo Piston
Using the Continuo and 8010----------
Sostenuto
AlternateMixture Pistons
Main Off/Antiphonal
On Controls--------
TransposeI'
Crescendo andExpression Pedals--------l0
Groat/Pedal Unexpressive Tablet
TuttiPiston and Toe Stud
Pipes Olf/Ancillary
On------------l1
Tuning Knob
Headphone
Jack
21mbelstem

Care and Maintenance of Your Rodgers Organ--12
Console andPedalboard
Ke"yhoards, Stop Tabs andDrawknohs
PlexiRlas MusicRack
Pipes,
On Pipe i4ugmentedInstruments
LevelinR Glides
Rodgers Five-Year Limited Warranty
Registration
Suggestions----------13
Great Organ Registration Suggestions
Choir/Positiv Organ Registration Suggestions
Swell Organ Registration
Suggestions-----14
Pedal Organ Registration Suggestions
Listing of Rodgers Factory Programmed
Memo~~~ons-------~~~~~~15
MemoryI 15, 16
Memory One Divisionals 17
Memory II 18, 19
Memory Two Divisionals 20
Windsor 840 and 840 Pipe ilugmented
SpedncaUons .21,22
FCC Notice------~-------23

THE RODGERS WINDSOR 840
The RODGERS WINDSOR 840 combines the finest organ traditions and classical tonal schemes with current elec-
tronic technology to give the organist and the listener truly fine organ sound. This instrument's design began with the
development ofa comprehensive specification that allows music from all periods and performance schools to be played in
an accul'ate and authentic manner .
.;\LL RODGERS ORGANS are manufactured to console specifications set forth by the American Guild of Organists.
These specificationscreate auniformity as to cOlnpass of keyboards (61 notes) and pedalboard (32 pedals), and the place-
ment of
keyboards in relation to the pedalboard. The latter requirement allows people of various sizes to play an organ
comfortably.
There are also specifications for the placement of stop tablets and couplers. Rodgers has always adhered to
these specifications in its classic organs to provide comfortable organs for all who play. ~
Your organ contains the follo\ving divisions: The Great Organ; the Choir/Positiv Organ; the Swell Organ: and the
Pedal Organ. Each division derives its name from its function in the tonal scheme of the organ.
The GREAT ORGAN has the boldest Principal (Diapason) ensemble and asolid Flute ensemble to support the Prin-
cipals.
An appropriate word for ensemble is "chorus:' which generally means that two or more pitch levels (8',4',2', etc.) of
atonal family are sounding simultaneously. There are softer accompanimental stops of Flute and Principal tone which
provide a
subtle texture to support the solo stops of the Swell Organ.
The CHOIR/POSITIV ORGAN functions as a secondary division to the Great Organ, and serves as an expressive
acconlpanimental division
as well. Its resources include both Principal and Flute ensembles, enhanced by the addition of
the Erzahler Celeste, and Krummhorn. Full couplers expand the resources of this division. It contains bright high-pitched
stops
which add clarity to contrapuntal lines and are valuable in the accompaniment of congregational hymn singing.
The name for the SWELL ORGAN originated when pipes were placed inside a special chamber called aswellbox.
One side of the swellbox has Venetian shutters which are controlled by a pedal called the S\vell Pedal. This pedal enables
the organist to control the dynamic level (loudness and softness) of this division by gradually opening and closing the
shutters,
thereby creating crescendos and decrescendos. This was not possible in earlier organs, as the dynamics were
determined solely by the number of stops drawn. The modern Swell Organ has a secondary Principal Chorus, complete
Flute
Chorus, Celeste and Reed voices, and couplers at the '16' and 4' pitches, which give this division large tonal flexibility.
The PEDAL ORGAN was so named because its keys are played by the feet. All Rodgers Organs have acomplete
pedal organ which will provide asuitable foundation for any manual registration, and provide appropriate independence
for all literature.
1

THE MUSICAL RESOURCES OF THE WINDSOR 840
There nre two major categories of organ tone- Flue and Reed:
FLUE: This category includes Principals (Diapasons), Flutes, and Strings. These voices are produced by similarly
constructed
pipes called flue pipes. These pipes make a sound when air enters and is channeled through athin opening,
directing
the air column upward against the lip of the pipe. This vibrating air sheet sets up vibrations in the column of air
inside
the pipe which creates the musical tone. Its principle is that of the common whistle.
REED: In this pipework, sound is generated by a metal tongue (reed) vibrating against ametal shallot, with flat,
open portion of the shallot facing the tongue. These parts are contained in the "boot" of the pipe. The resonator (uppermost
tubular section) affects the timbre (color) and pitch of the particular pipe. Such voices as the TROMPETTE, OBOE,
KRUMl\1HORN, and VOX HUMANA are members of the Reed Family. They are easily recognizable because their LEDs
(Light Emitting Diodes) are tinted red and stop tab engravings are in red.
THE PRINCIPAL (DIAPASON) FAMILY
The Principals are the tonal family unique to the organ. There is no orchestral counterpart to the Principal nor can
it be duplicated by any orchestral instrument. When played in chorus, such as 8' PRINCIPAL, 4' OCTAVE, and 2' SUPER-
OCTAVE on the Great manual, the resulting sound provides body, clarity, and the base to which the other tone families of
the organ must relate and blend.
The Mixture stops are made up of several pitches of high-pitched Principal pipes. The pitches selected augment the
natural harmonic
overtone series. Amixture's prime function is to add sparkle to the Foundation tone of the organ. The
Roman numeral on the drawknob indicates the number of pitches sounding when a single note is depressed, e.g., CYM-
BALE II (two pitches), MIXTURE V(five pitches).
When used sensitively with suitable Foundation stops and/or Reeds, aMixture provides the crown of the tonal
spectrum. When used in combinations for hymn playing, Mixtures provide pitch clarity for the ear, resulting in better con-
gregational singing.
THE FLUTE FAMILY
The Flute family has a dual role in good organ design. The Flutes must support the Principals and, in addition,
provide another
fund of tone color for solo and accompaniment voices. The most developed Flute Chorus is in the Swell
Organ where Flutes are available from 16' through 13/5' pitches. In the Great Organ the Flutes give added body when used
with the Principals.
By combining unison and non-unison (mutation) Flute stops, the organist can create synthesized solo voices. The
22/3' NASARD and the 13/5' TIERCE on the Swell manual can be used in combination with Flutes of 8' and/or 4' pitches to
produce the classic solo stop called SESQUIALTERA. The combination and proper balance of unison and non-unison
pitches
which comprise these combinations are astandard practice of organ design dating back hundreds of years.
The 11/3' QUINT on the Choir/Positiv manual is useful for adding asubtle sparkle to any combination. It is most
commonly
used with the 8' and 4' Flutes to give a very colorful, quaint sound useful f{)r contrapuntal literature.
The combination of the Great 8' BOURDON and the 22/3' NASAT is a cool, elegant solo voice.
Flutes are found in the Pedal Organ as well-playing at 32' and 16' pitches, as well as supplying Flute tone at8',4',
and 2~
2

THE STRING FAMILY
Strings are small scaled (reduced diameter) Principals that are decreased in volume and have abrighter timbre.
Strings
are most useful as accompanimental stops since they are subtle, and with their abundance of harmonics (natural
overtones)
each note of the most conlplex chord can be heard with distinction.
The String family stops on the WINDSOR 840 are the 8' GElVISHORN, the 8' VIOLA POMPOSA, the 8' Gi\MBA, and
the 8' ERZAHLER.
CELESTES
i\ celeste is aspecial musical effect designed to create the "orchestral sound" of multiple identical instruments
playing at
the same tinle, e.g., asection of violins. Celeste sound is useful for enriching Flute and String tones, but is never
used with Reeds.
The It'INDSOR 840 has three Celeste stops which engage separate and individually tunable pitch sources to pro-
duce authentic organ Celestes. The Swell VIOLA CELESTE II and FLUTE CELESTE II and the Choir/Positiv ERZAHLER
CELESTE II provide atonal kaleidescope of warm, rOlllantic organ tone.
THE REED FAMILY
The Reed family is the most colorful of all the organ families and is subdivided into three sections: Chorus Reeds,
Semi-Chorus Reeds, and Solo Reeds. Chorus Reeds are generally of Trumpet quality and usually located in the Swell Divi-
sion. Semi-chorus Reeds and Solo Reeds may be found on any manual. The Rodgers WINDSOR 840 Organ has Chorus Reeds
on the Swell (16' CONTRE TRO~lPETTE, 8' TROMPETTE and 4' CL_AIRON), the Great (16' CONTRE TROMPETTE) and the
Pedal (16' and 8' TROMPETTE, and 4' CLi\IRON). The organ contains Semi-Chorus Reeds (KRUMMHORN, VOX HUMANA,
and
OBOE) \vhich can be used both as Chorus Reeds and as Solo Reeds.l\lso, your organ has a very strong Solo Reed, the 8'
FESTIVL-\L TRUlVIPET. It is best used sensitively for festive occasions, orfor heroic solo melodies. It has its own FF control in
the WINDSOR 840 general control section.
PERCUSSIONS
The Percussions found on your Rodgers Organ are the CARILLON (with alternate tunings), HAR~ PIANO, GRAND
PL\NO and H.ARPSICHORD. All of these voices are independent of all other voices, and they have volume and sustain
length controls.
The knob labeled "Option" has three positions which correspond to three tunings for your CARILLON: 1) Major-
tuned
bells, 2) lVlinor-tuned bells, and 3) Flemish-tuned bells. The Great CARILLON is best used one note at a time, since its
complex harmoniccontent willclash
if more than one note atatime is played. The Swell 8' VIOLA POMPOSA and 8' VIOLA
CELESTE are good stops to use if you wish to accompany the Carillon.
The Choir/Positiv HARP is very effective when used in combination with soft voices as an accompaniment texture.
The Great HARPSICHORD can be used by itselforcoupled at the 4' pitch by using the GREAT TO GREAT 4' coupler.
Apleasant
ensemble results from coupling the 8' VIOLA POMPOSA and the 8' VIOLA CELESTE from the Swell to the
Great for accompaniment
tone reminiscent of aBaroque string orchestra.
The WINDSOR 840's PIANO voices are useful in supplying the percussive sounds often called for in contemporary
organ literature while
the HARPSICHORD is useful for a more traditional approach to percussive sound.
The charts on the following pages show the stop list for the WINDSOR 840.
3

STOP AND COUPLER LIST
WINDSOR 840
AND WINDSOR 840 PIPE AUGMENTED
GREAT
SWELL CHOIR/POSITIV
PEDAL
PRINCIPALS
8' PRINCIPAL
8' VIOLA POMPOSA
8' ERZAHLER
32' CONTRA PRINCIPAL
4' OCTAVE
4' PRINCIPAL 4' PRINCIPAL
16' PRINCIPAL
2' SUPEROCTAVE PLEIN JEU IV
2' OCTAVE
8' OCTAVE
MIXTURE V (ALrERNATE ~IIX)
JVlIXTURE IV
4' CHORALBASS
(ALTERNATE MIX) (ALTERNATE MIX)
MIXTURE IV
FLllTES
8' BC)URDON
16' BOURDON DOUX 8' ROHR GEDACKT
32' CONTRE BOURDON
4' FLUTE 8' GEDACKT
4' FLUTE
16' SUBBASS
22 /=J' NASAT
4' NACHTHORN 22 1=l' NASARD
16' VIOLONE
2' WALDFLOTE 22hl' NASARD 2' PICCOLO
16' BOURDON DOUX (SW)
SESQUIALTERA II 2' BLOCKFLOTE
11 1=i' QUINT
8' FLUTE
1=l/5' TIERCE
l' SIFFLOTE
4' NACHTHON
2' FLUTE
STRINGS
8' GEMSHORN 8' VIOLA POMPOSA
8'
ERZHLER
8' VIOLA CELESTE II
8'
ERZAHLER CELESTE II
8' GAMBA
16' SWELL TO SWELL 16' CHOIR TO CHOIR 8' GREAT TO PEDAL
SWELL UNISON OFF CHOIR UNISON OFF. 8' SWELL TO PEDAL
4' SWELL TO SWELL 4' CHOIR TO CHOIR 4' SWELL TO PEDAL
8' CHOIR/POSITIV TO SWELL 16' SWELL TO CHOIR/POSITIV 8' CHOIR/POSITIV TO PEDAL
8' SWELL TO CHOIR/POSITIV
4' SWELL TO CHOIR/POSITIV
TREMULANT
PERCUSSIONS
CARILLON (3 alternates)
HARPSICHORD
8' PIANO
COUPLERS
4' GREAT TO GREAT
16' S\VELL TO GREAT
8' SWELL TO GREAT
4' SWELL TO GREAT
16' CHOIR/POSITIV TO GREAT
8' CHOIR/POSITIV TO GREAT
4' CHOIR/POSITIV TO GREAT
REEDS
16' CONTRE TROMPETTE(SW) 16' CONTRE TROMPETTE
8' FESTIVAL TRUMPET
8' TROMPETTE
8' OBOE
8' VOX HUMANA
4' CLAIRON
TREMULANT
8' KRUMMHORN
TREMULANT
HARP
16' CONTRE TROMPETTE
(SW)
8' TROMPETTE (SW)
4' CLAIRON (SW)
16' GRA'ND PIANO
GENERALS
MAIN OFF
ANTIPHONAL ON
PIPES OFF
ANCILLARY ON
FLUTE TREMULANTS FULL
l\1AIN CHORUS
FESTIVAL TRUMPET FF
ORCHESTRAL CRESCENDO
GREATIPEDALUNEXPRESSED
4

RODGERS HANDCRAFTED PIPES
At the heart of Rodgers tradition of organ-making are the pipes, exquisitely built to Rodgers exacting standards
from the finest metals and \voods.
Our techniques originate \vith old-world organ builders, \vhose pipe-making methods go back centuries. Their expe-
rience led to Rodgers' integrated pipe augmented designs. which combine time-honored pipe practices with electl'onic
technology.
To preserve classical pipe-making practices, we keep cut-ups as low as possible and use low wind pressures. This
allows
the whole pipe to resonate with agreater richness of tone, and provides arich palette of harmonics.
Perhaps the most crucial step in pipe making is the scaling. Rodgers metal pipes are variably scaled, or sized,
according to the specific requirements for their role in the tonal scheme. Variable mouths, cut-ups and tapering are used in
the scaling, tailoring each rank to its most useful musicality. The resulting effect is a sound much more full-bodied and
emphatic
than the size or number of ranks would suggest.
Finally, when all the ranks of pipes have been completed and passed numerous inspections, they are ready for
installation.
Under the strict supervision of Rodgers experts, pipes are voiced according to the specific characteristics of
theirsurroundings. It is this classic blend that rnakes the Rodgers Pipe Augmented Organs stunning masterpieces ofvisual
and acoustical art.
SPECIAL FEATURES
TURN-ON/TURN-OFF
To turn the organ on, press the POWER switch firmly for a couple of seconds and then release it. The power switch
will light
up after a second and the organ is ready to play.
To turn off the organ, press and release the POWER switch again.
The organ automatically turns itself off if left idle for more than two hours. Just before turning off, the computer
flashes the POWER lamp as awarning to the organist. Pressing any piston or key will prevent the organ from turning off for
another two
hours. This feature prevents the organ from being left on by mistake.
COUPLERS
There are two kinds of couplers on your Rodgers Organ: intermanual and intramanual couplers.
The function of an Intermanual Coupler is to enable the stops of one division or keyboard to be played on another
keyboard or the pedalboard. Examples of Intermanual Couplers are SWELL TO GREAT 8' and SWELL TO GREAT 4~ Intra-
manual couplers allow
voices to be played at adifferent pitch level or levels on those voices' home manual. Examples of
Intramanual Couplers are SWELL TO SWELL 16' and S\VELL TO SWELL 4~Couplers greatly increase the flexibility of the
WINDSOR 840.
DUAL MEMORY COMBINATION ACTION
One of the exciting features of your Rodgers Organ is its combination action which is adjustable by the organist
from the console. The organist can select favorite registrations and make rapid changes in tone color using this advanced
system.
Rodgers Microprocessor Combination Action is aspecially refined dual memory system. This gives the organist a
total of 20
General pistons and ten independent Divisional pistons each for the Swell, Great, Choir/Positiv, and Pedal.
The pistons can only be set if the organist possesses the proper code for unlocking the combination action's memo-
ries. For further information see the section below.
Both memories can be used at any time, but they can only be changed if the proper code is used.
5

TO SET THE MEMORY ACCESS CODES:
1. Write down the code(s) you wantto enter. (The code can be any numeric sequence ofup to eight digits where no digit
is
used consecutively.)
2. Place the "Combination Access Key" magnet just in front ofthe headphone jack under the keydesk. The power lamp
should
now start flashing.
3. Press the M1 memory piston.
4. Enter your personal code for l\1emory 1 on the General pistons. (All of the organs are set with the code"1" at the
factory.
You may change the code as you wish.)
5. Press the SET piston.
6. To access Memory 2, repeat steps 3,4,& 5, but use the M2 piston.(All of the organs are set with the code "2" for this
memory. You may change the code as you wish.)
7. Now press the General Cancel Piston (0 piston).
TO UNLOCK A MEMORY:
1. While holding the SET piston in, press M1or M2. The selected memory piston will start flashing.
2. Enter the "Access Code" on the Genera) pistons. The Selected memory lamp will stop flashing.
NOTE: If amistake is made, press General Cancel "0" which will stop the lamp flashing, leaving the memory
locked.
HOW TO SET THE PISTONS:
1. Select the Memory (lor 2) to receive the registrations by pushing M1or M2.
2. Select your registration.
3. Push the Set piston and hold.
4. \\'hile pushing the Set piston, push the desired piston and then release both pistons simultaneously.
In addition to
use as aCapture system, your Combination Action can also function as a"Hold and Set" system. To
use it this way, simply press and hold the numbered piston you wish to set all the way in and turn on the stop tab you wish to
set.
The desired memory must, of course, be unlocked.
The memories relock when the organ is'turned off.
CHORUS CONTROL
The Chorus effect is patterned afterthe natural interaction of pipes in apipe organ. Rodgers Organs utilize digital
techniques to produce this effect.
The Main Chorus control is apiston located under the Choir/Positiv manual. This piston
affects
the entire organ. To experience the enriched sound, turn on the 8' VIOLA POMPOSA, 8' GEDACKT, 4' PRINCIPAL,
and 2' BLOCKFLOTE on the Swell manual.
While holding
down achord on the Swell manual, turn the Main Chorus on and off and listen to the difference.
On the WINDSOR 840, the MAIN CHORUS turns on with the organ and must be turned off,should you wish to play
v;ithout it.
CHIFF AND AIR PUFF
Chiff and Air Puff are natural speech characteristics of Classically voiced pipes. These characteristics give addi-
tional clarity to both pitch
and attack. There are several chiff circuits on your Rodgers Organ affecting the Principal and
Flute voices, and they are always on. Their levels are adjustable to the requirements of the room in which your organ is
located.
6

I
TREMULANTS
'fremulants can be most useful when judiciously used. Each manual division has an independent Tremulant.
When turned on, Tremulants affect only the stops in the division where that stop tablet is located. Each indepen-
dent Tremulant is adjustable for both speed and depth. It is recommended that these adjustments be made by AUTHO-
RIZED PERSONNEL ONLY.
The Flute Tremulant Full tablet affects all the Flute voices on the manual divisions of the organ. It is a deeper and
faster tremulantthan those mentioned above and is useful where Evangelistic music is used. It also has independent speed
and depth controls.
THE CONTINUO PISTON
The name of this accessory device has been borrowed from the ancient term "Basso Continuo" meaning tho-
roughbass. When this lighted piston (located under the Great manual) is pressed, any stops orcouplers on the Pedal Organ
will sound from the lowest key being played in the bass of the Great manual, providing a Pedal Bass without having to
actually
use the feet. Rodgers microprocessor circuitry prevents its Ujumping" allowing repeated bass notes to be played
with proper effect.
In its normal setting, the CONTINUO affects keys 1-24 of the Great manual, but its compass is programmable. As
few notes as 1-13, or as many notes as 1-32 may be programmed. The procedure for programming the compass is as
follows:
1. Hold in SET and press CONTINUO. The CONTINUO piston will start flashing.
2. Release both pistons.
3. While CONTINUO is flashing, press any key which corresponds to the highest note to which you wish the compass to
extend. You may select any note from key 13 to key 32. It\fter you have pressed the key, the CONTINUO piston will
shut off.
NOTE: When you press the key to set the compass, no sound will be heard, so that you will not make adisturbance if
you program the compass during aperformance.
4. To use the new compass, press the CONTINUO piston.
NOTE: When the organ is turned off, the compass of the CONTINUO will revert to 24 notes.
SOLO PISTON
\Vhen this lighted piston (located under the Great manual) is pressed, it allows any stop or coupler of the Swell
Organ (including the Choir/Positiv to Swell) to sound from the highest key being played on the Great manual. Thus, a solo
melody and an accompaniment can be played from the same manual. The unique control allows the player to repeat notes
without the SOLO "jumping" so use of this device does not require a special technique.
In its normal setting, the SOLO affects keys 25-61 of the Great manual, but its compass is programmable, and may
be extended downward to key 13, or stopped at key 49. The procedure for programming the compass is as follows:
1. Hold in SET and press SOLO. The SOLO piston will start flashing.
2. Release both pistons.
3. While SOLO is flashing, press the key which corresponds to the lowest note to which you wish the compass to
extend. You may select any note from key 13 to key 49. After you have pressed the key, the SOLO piston will shut off.
NOTE: When you press the key to set the compass, no sound will be heard, so that you will not make adisturbance if
you program the compass during aperformance.
4. To use the new compass, press the SOLO piston.
NOTE: When the organ is turned off, the compass of the SOLO will revert to keys 25-61.
7

USING THE CONTINUO AND SOLO:
Some very interesting effects are made possible with these two accessory devices.
A. Suppose you wish to playa solo on the Swell OBOE, with accompaniment on the Great FLUTE CELESTE II and
GEMSHORN, with an appropriate Pedal.
1. Draw the Swell OBOE and TREMULi\NT. Draw the Great FLUTE CELESTE II and the GEMSHORN. Draw the
Pedal BOURDON DOUX 16' and the GREAT TO PEDAL 8~ Press CONTINUO and SOLO pistons.
2. Play on the Great manual. The lowest note being played will sound the Pedal combination, the highest note will
sound the OBOE, and the notes between will play the accompaniment from the Great.
B. Suppose you wish to "solo out" the tune of a hymn on the Festival Trumpet, but wish to have both hands on the
Great.
1. Select the Swell FESTIVi,o\L TRUMPET. Use l\1emory I, General 10 of the factory settings for Great and Pedal
voices. Press the SOLO piston.
2. Play the hymn on the Great Manual. The top-note melody will be played on the FESTIVAL TRUMPET while the
remainder of
the notes will sound the selected Great stops. The Pedal will play normally.
3. Press CONTINUO. Now the Pedal combination will play from the lowest Great key. The entire piece can now be
played on the Great Manual keys alone.
Experimentation will reveal many special effects and useful improvisational techniques impossible on less
advanced organ systems.
SOSTENUTO
The Sostenuto allows a chord to be sustained without holding the keys down. There are times when asustained
chord
is necessary overlayed by arpeggios orother moving melodic or harmonic activity. This is quite frequently found in
piano transcriptions of orchestral
accompaniments for choral works. To engage the Sostenuto, press the SOSTENUTO
piston. While holding a chord on the Great Manual,slide your right foot (placed on the Great expression pedal) towards the
left.
You will feel asmall toe switch. Pressing and holding the switch will engage the Sostenuto on the Great Manual. Now
remove your hand from the Great keyboard and you will notice that the chord continues to sound. To disengage the sound,
release the toe switch. Any number of notes can be held.
You will also find the Sostenuto useful to sustain a chord when making aregistration change that requires two
hands to complete or when changing pages of music. The Sostenuto will effect all stops and couplers on the Great Manual.
ALTERNATE MIXTURE PISTONS
Very often, in modern organs, Mixture stops which are appropriate for the playing of great organ literature are too
high pitched, or of the wrong harmonic emphasis to be useful in an accompanimental role. For example, the Swell PLEIN
JEU-which is used in choral accompaniments as well as for acomplementary harmonic crown to the Reeds. The choral
accompaniment
would require lower pitches to blend with the voices, whereas the Reed Chorus needs high, sharper mix-
ture
tone to add the essential eclat to this exciting sound. ~4LI'ERNATE MIXTURE pistons solve this problem.
For each manual Mixture stop on the NEWPORT 830, there is alighted ALT MIX piston. When operated, it directs
the microprocessor to assign acompletely different Mixture-different in pitch and structure-to the Mixture draw knob
with which it is associated. In the unaltered state, the Mixtures are in the lower, more "accompanimental" form. When the
ALT MIX is pressed, it lights and indicates that the altered state-higherpitched and brightercomposition-is in effect. The
AU'ERNATE MIXTURE pistons may be set on their respective divisional pistons or on the Generals.
8

I
I
i
IMAIN OFF/ANTIPHONi\L
ON CONTROLS
These tablets operate when an antiphonal speaker system is connected to your Rodgers Organ.
The basic concept of an antiphonal division is to place antiphonal speakers at the opposite end ofthe room from
the main sound source. This placement allows greater musical flexibility because the sound originates from either end of
the listening area, or from both ends simultaneously.
The MAIN OFF tab shuts off the sound of the main body of speakers, and the It\NTIPHONAL ON tab turns on the
auxiliary, or antiphonal
speakers.
NOTE: If the l\tIAIN OFF tab is depressed, the .ANTIPHONAL ON must also be depressed, or the organ will not sound
through either system.
TRANSPOSER
The Transposer will raise or lower the pitch of the organ four semitones (half-steps) in either direction. It is con-
trolled by a knob at the right hand side jamb. The Transposer is especially useful for accompanying, eliminating the need to
mentally transpose music on the printed sheet into adifferent key. Many singers need a key change to accommodate their
voice range, sometimes as far as amajorthird in eitherdirection. The Transposer accomplishes these key changes \vith the
touch of apiston.
Jt\nother important feature of the Transposer is that it returns to normal pitch (0 piston) automatically when the
organ isshutoff,or when the combination action Cancel piston is pushed. This avoids the problem of the organ being in the
wrong key the next time it is played.
9
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i
I
!

CRESCENDO AND EXPRESSION PEDALS
The WINDSOR 840 has a Crescendo Pedal and two Expression Pedals. The pedal on the right (\vhich is slightly
raised) is the Crescendo Pedal which gradually adds a pre-determined selection of stops as it is pressed forward. The
Crescendo Pedal does not affect the stops already set up on the organ but merely adds to them.
The Crescendo pedal also has another function. Your Rodgers Organ is equipp'ed with a programmable ORCHES-
TRAL CRESCENDO, giving the organist aromantic crescendo sequence that includes tremulants and celestes.
By pushing the Orchestral Crescendo (ORCH CRESC) thumb piston, located under the Swell manual, you will disen-
gage the standard Crescendo and engage the Orchestral Crescendo. Instructions for setting the Orchestral Crescendo
follow:
1. Both memories must be unlocked to allow the Crescendo sequence to be changed.
2. Hold SET and press the ORCH CRESC piston. It will start flashing.
3. The combinations on the first position of the Crescendo shoe will be displayed. Make any changes you desire and
press SET.
4. Repeat step 3for the remaining 60 positions.
5. l\fter the last position has been set, the ORCH CRESC piston stops flashing.
The Pedal in the middle is the Swell E)("pression Pedal which controls the overall volume or loudness of the Swell
organ. The pedal on the left is the ChoirlPositiv Expression Pedal which controls the overall volume or loudness of the
Choir/Positiv, Great, and Pedal divisions. These pedals are used to give variety of expression to the music played. Pressing
the pedal forward increases the volume. Drawing back decreases the volume. (Note: The Great and Choir/Positiv pipes are
not expressed.)
GREAT/PEDAL UNEXPRESSIVE TABLET
In most traditional pipe organ tonal schemes, the Great and Pedal organs are non-expressive. Because of the flexi-
bilityof
Rodgers microprocessorcircuitry, the Great and Pedal electronic voices can normaJly be expressed from t.he Choir/
Positiv expression pedal. If, however, the organist desires the more traditional scheme, the GT/PED UNEXPRESSIVE tablet
may be turned on. This will release the Great and Pedal stops from the control of the Choir/Positiv expression pedal (except
for the 16' BOURDON DOUX, 16' CONTRE TROMPETTE, 8' TRO~1PETTE and 4' CLAIRON, which are duplexed from the
Swell, and continue to express). This tablet may be set on the general pistons.
TUTTI PISTON AND TOE STUD
Sometimes it is desirable to have afull organ registration suddenly and quickly. To do so on the WINDSOR 840
simply push the TUTTI Piston or TUTTI Toe Stud. To cancel the full organ (TUTTI), push the TUTTI Piston or the TUTTI Toe
Stud again.
On your Rodgers Organ you can actually set your own Tutti. To do so, follow the instructions below.
TO READ WHAT IS SET ON TUTTI:
While holding TUTTI in, press the SET piston.
TO SET TUTTI:
Unlock either Memory 1or Memory 2.
Set up your desired combination, then \vhile holding SET in, press TUTTI.
Turn off the organ to relock the memory.
10

PIPES OFF/ANCILLARY ON
On Pipe Augmented instruments, those voices marked with an asterisk (*) on pages 21 and 22 will normally be
derived from real pipes. Turning both Pipes Off and Ancillary On Stop Tablets on turns off the pipes and tells the micropro-
cessor to use the organ's electronic circuitry to create these voices. Turning the Ancillary On Stop Tablet on without the
Pipes Ofr Stop Tablet allows both pipes and electronics to both play at once on any of the appropriate voices.
TUNING KNOB
Your Rodgers organ is equipped \vith atuning cOfilpensation knob which allo\vs you to tune the entire organ easily
and quickly to a piano or other instrument which may not be at "Concert Pitch" when played with the organ. When the
control
knob is pushed in, the organ returns to "Concert Pitch" (A440).
If your organ is Pipe Augmented, the Tuning Knob will bring the pipes and electronics into tune with each other.
HEADPHONE JACK
Your Rodgers Organ has a Headphone Jack located under the keydesk near your right knee. When you plug in aset
of
headphones, the speaker system shuts off, alloWing you to play in privacy. If your organ has pipes, they will also shut off.
It is recommended that you use astandard eight (8) ohm headphone set. Your Headphone Jack is designed to run only ONE
set of headphones at atime.
ZIMBELSTERN
Your organ is prepared for the optional ZIMBELSTERN. The ZIMBELSTERN toe stud is reversible, that is, you push
to turn on the ZIMBELSTERN and push it again to turn it off.
11

CARE AND MAINTENANCE OF YOUR RODGERS ORGAN
As \\'ith any fine musical instrument, reasonable care is necessary to protect your investment in your Rodgers
()rgan. Nonnally, you should experience no difficulties because it has been carefully designed, and only the finest compo-
nent parts are used in its manufacture. Even the finest equipment, however, is subject to occasional service. Your Rodgers
Service Representative is fully equipped and qualified to handle any ser'vice problems which may arise.
)'our nc\v Rodgers organ is not only afine musical instrument, but also afine piece of custom-made furniture,
finished to hold its attractiveness through generationsof use. Only the best woods are used, carefully checked foruniform-
itS ofgrain and intensity offigure and carefully hand assembled. Each finish coat is thoroughly dried before the next coat
is applied. This results in afinish that is lasting and easy to keep looking beautiful. Following are a fe\\' tips on caring for
your Rod~rrs organ.
CONSOLE AND PEDALBOARD
Afrequent dusting with asoft, clean cloth is usually all that is required. For alacquered finish, asmall amount of
cOlnmcrcial polish
on the cloth will keep the organ smudge-free and help remove fingerprints. Waxes, oils, orsilicone base
polishes should not be used. For an oiled finish, afine quality furniture oil will enhance the beauty of the wood. 1;\lways wipe
the surfaces with the grain, using straight, even strokes.
Since extreme cold, heat, or exposure to sunlight may injure the finish of any fine piece of furniture, neither the
console nor finished speaker cabinets should
be placed over aheat register ornear an open window.
KEYBOARDS, STOP TABS AND DRAWKNOBS
Keyboards and Stop Tablets should be cleaned with asoft cloth slightly dampened with water and amild soap.
Avoid dripping water between the keys. DO NOT USE SOLVENTS (alcohol, gasoline, carbon tetrachloride, etc.).
PLEXIGLAS MUSIC RACK
rib clean your music rack use asoft cloth \vith amild solution of soap and warm water. Wipe dry.
PIPES, ON PIPE AUGMENTED INSTRUMENTS
To keep the pipes ofyour Rodgers organ beautiful,refrain from touching them with ungloved hands. You should not
attempt to clean or polish them.
Because handling in any way by non-trained persons can spoil tuningor even cause damage, it isstronglysuggested
that the pipes
never be handled or touched by any but organ service persons.
LEVELING GLIDES
To assure optimum performance and lifeof the moving parts of the console it should always be level. Uneven floors
tend to distortthe case over aperiod oftime, and extreme stresses will damage the case work and eqUipment. The Leveling
Glides are under each corner of the console and bench and are mounted on heavily-threaded pins. These may be adjusted
as nlllch as 11 /2 inches to compensate for irregularities in the floor. Acarpenter's spirit. level can assure the most accurate
settings.
RODGERS FIVE-YEAR LIMITED WARRANTY
The Rodgers Instrument Corporation warrants every part of your Rodgers console against defective materials or
wor'kmanship for aperiod offive
years beginning on the dateof purchase (fororiginal retail purchasers from an authorized
Rodgers dealer only).
IT IS IMPORTANT THAT YOU COMPLETE THE WARRANTY REGISTRATION CARD INCLUDED WITH THIS
I\IANUl\L 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
repla~ement of parts, is not covered by the factory warranty. Contact your authorized Rodgers dealer for details
on his labor \varranty.
Complete factory warranty terms are spelled out in the
Rodgers Limited Warranty certificate available at your
Rodgers dealer or mailed to you upon receipt of your Warranty Registration Card.
12
I

REGISTRATION SUGGESTIONS
The following pages of registrations are guidelines for selecting appropriate stops to match broad suggestions
given in most printed organ literature. There will be variances ofregistration, depending upon the rnusic, acoustics of the
room, and the spirit of the performance.
One of the great joys of the Rodgers Organ is the incredible tone color possibilities. Your experiments with varying
combinations of
stops will prove a never-ending source of imaginative realizations of musical potential.
GREAT ORGAN REGISTRATION SUGGESTIONS
Given Suggestions Appropriate Registration
Flute* 8' BOURDON
String* 8' GEMSHORN
Foundations p 8' BOURDON
8' GEl'fISHORN
Foundations mf 8' BOURDON
8' GEMSHORN
4' FLUTE
Foundations f 8' PRINCIPAL
8' BOURDON
4' OCTAVE
4' FLUTE
*TremuJant may be added
Given Suggestions Appropriate Registration
Foundations ff 8' PRINCIPAL
8' BOURDON
4' OCTAVE
4' FLUTE
2' SUPEROCTAVE
Full Great 8' PRINCIP/\L
8' BOURDON
4' OCTAVE
4' FLUTE
2' SUPEROCTAVE
2' WALDFLOTE
MIXTURE IV
16' CONTRE TROlVlPETTE
CHOIR/POSITIV ORGAN REGISTRATION SUGGESTIONS
Full Choir/Positiv
Given Suggestions Appropriate Registration
Soft Strings*
8' ERZAHLER CELESTE II
Strings*
8' ERZAHLER
8' ERZAHLER CELESTE II
Flute
8'
ROHR GEDACKT
Reed Solo*
8'
KRUMMHORN
Flue 8010*
8'
ERZAHLER
4'
FLUTE
Foundations mf
8'
ROHR GEDACKT
4'
FLUTE
Foundations f8' ROHR GEDACKT
4'
PRINCIPAL
4'
FLUTE
*TremuJant may be added
13
Given Suggestions Appropriate Registration
Foundations ff 8' ERZAHLER
8' ROHR GEDACKT
4' PRINCIPAL
4' FLUTE
2' OCTAVE
8' ERZAHLER
8' ROHR GEDACKT
4' PRINCIPAL
4' FLUTE
2' OCTAVE
l' SIFFLOTE
MIXTURE IV

SWELL ORGAN REGISTRATION SUGGESTIONS
Given Suggestions Appropriate Registration
Flutes* 8' GEDl\CKT
Strings*
8' VIOLA POMPOSA
8' VIOLA CELESTE II
Reed (Solo)* 8' TROMPETTE OR
8' OBOE OR
8' VOX HUMANA
Reed (Big Solo) 8' FESTIVAL TRUMPET
8' TROMPETTE
FESTIVAL TRUMPET FF
Reed (Chorus) 16' CONTRE TROMPETTE
8' TROMPETTE
4' CLAIRON
Foundations p
8' VIOLA POMPOSA
8' GEDACKT
*~emumntmayheadded
Given Suggestions Appropriate Registration
Foundations mf 8' VIOLA POMPOSA
8' GEDACKT
4' NACHTHORN
Foundations f
8' VIOLA POMPOSA
8' GEDACKT
4' PRINCIPAL
4' NACHTHORN
2' BLOCKFLOTE
Full Swell 16' BOURDON DOUX
8' VIOLA POMPOSA
8' GEDACKT
4' PRINCIPAL
4' NACHTHORN
2' BLOCKFLOTE
PLEIN JEU IV
16'
CONTRE TROMPETTE
8' TROMPETTE
PEDAL ORGAN REGISTRATION SUGGESTIONS
Given Suggestions
Flutes
Pedal Principals
Foundations p
Foundations
mf
Foundations f
Appropriate Registration
16' SUBBASS
8' FLUTE
16' PRINCIPAL
8' OCTAVE
16' BOURDON DOUX
16' SUBBASS
8' FLUTE
16' PRINCIPAL
16'
SUBBASS
8' OCTAVE
8' FLUTE
4' CHORALBASS
14
Given Suggestions
Full Pedal
Pedal Solo
l\ppropriate Registration
32' CONTRE BOURDON
16' PRINCIPAL
16'
SUBBASS
8' OCTAVE
8' FLUTE
4' CHORALBASS
2' FLUTE
MIXTURE IV
16'
CONTRE TROMPETTE
4' CLAIRON
4' CLAIRON or
4' CHORALBASS or
4' NACHTHORN
2' FLUTE

LISTING OF RODGERS
FACTORY PROGRAMMED MEMORY PISTONS
Your WINDSOR 840 was shipped from the Rodgers factory with the following combinations pre-set on its memory pistons.
See the earlier section on the memory system to set your own registrations on the pistons. Another earlier section tells you
ho\v to instruct the WINDSOR 840'8 microprocessor to return its memories to the original factory settings listed below.
MEMORY)
GENERAL 1 (Solo Flute \\Tith Accompaniment)
GREAT SWELL
4' Flute 8' Flute Celeste II
Tremulant Tremulant
GENERAL 2(Accompanimental Celestes)
GREAT SWELL
8' Principal 8' Viola Celeste II
8' Bourdon 8' Flute Celeste II
4' Flute Tremulant
8' Swell to Great
8' Choir/Positiv to Great
Tremulant
GENERAL 3(Full "Romantic" Chorus)
GREAT SWELL
8' Principal 8' Viola Celeste II
8' Bourdon 8' Flute Celeste II
4' Octave 8' Gamba
4' Flute 4' Swell to Swell
16' Swell to Great 8' Choir/Positiv to Swell
8' Swell to Great Tremulant
4' Swell to Great
16' Choir/Positiv
to Great
8' Choir/Positiv to Great
4' Choir/Positiv to Great
Tremulant
PEDAL
16' Subbass
8' Flute
4' Nachthorn
PEDAL
16' Violone
16' Bourdon Doux
8' Flute
4' Choralbass
4' Nachthorn
GENERAL 4 (Two Solo Colors with Swell
Accompaniment)
SWELL
8' Gedackt
4' Principal
4' Nachthorn
GREAT
8' Bourdon
4' Flute
Sesquialtera II
CHOIR/POSITIV
8' Flute
8' Krummhorn
GENERAL 5 (Separate Principal Choruses)
GREAT SWELL
8' Principal 8' Gedackt
8' Bourdon 8' Gamba
4' Octave 4' Principal
4' Flute 2' Blockflote
2' Waldflote
Plein Jeu IV
Mixture VAlternate Mixture
Alternate Mixture
CHOIR/POSITIV
8' Rohr Gedackt
4' Principal
Mixture
IV
Alternate Mixture
GENERAL 6 (Basic Foundation Tone for Hymn
Playing on the Great)
SWELL
8' Viola Pomposa
8' Gedackt
8' Gamba
4' Nachthorn
GREAT
8' Principal
8' Bourdon
8' Swell to Great
8' Choir/Positiv to Great
PEDAL
t6' Bourdon Doux
8' Swell to Pedal
PEDAL
16' Violone
16'
Bourdon Doux
8' Swell to Pedal
CHOIRIPOSITIV
8' Rohr Gedackt
8' Swell to Choir/Positiv
CHOIR/POSITIV
8' Erzahler Celeste II
8' Rohr Gedackt
8' Swell to Choir/Positiv
CHOIR/POSITIV
8' Erzahler Celeste II
8' Rohr Gedackt
4' Choir/Pos to Choir/Pos
8' Swell to Choir/Positiv
4' Swell to Choir/Positiv
Tremulant
PEDAL
32' Contre Bourdon
16' Subbass
16' Violone
16' Bourdon Doux
8' Flute
8' Swell to Pedal
8' Choir/Positiv to Pedal
CHOIR/POSITIV
8' Erzahler
8' Rohr Gedackt
4' Flute
8' Swell to Choir/Positiv
PEDAL
16' Subbass
16' Violone
8' Flute
8' Swell to Pedal
8' Choir/Positiv to Pedal
15

GENERAL 7(Bright Foundations)
GREAT SWELL
8' Principal 8' Viola Pomposa
8' Bourdon 8' Gedackt
4' Octave 8' Gamba
4' Flute 4' Nachthorn
2'
Super Octave 2' Blockflote
2' \\'aldflote
8'
Swell to Great
8' Choir/Positiv to Great PEDAL
32' Contre Bourdon
16' Principal
16'
Subbass
16' Violone
16' Bourdon
Doux
8' Octave
16' Contre Trompette
8' Choir/Positiv to Pedal
GENERAL 9 (Solo Reed (Swell) and Broad Foundation
with
Reed Chorus)
SWELL
8' Festival Trumpet
8' Trompette
Festival Trumpet
FF
GREAT
8' Principal
8' Bourdon
4' Octave
4' Flute
16' Choir/Positiv
to Great
8' Choir/Positiv to Great
Great
Unexpressed
CHOIR/POSITIV
4' Flute
2' Octave
Mixture IV
8' Krummhorn
16'
Choir/Pos to Choir/Pos
PEDAL
32' Contre Bourdon
16' Subbass
16' Violone
16' Bourdon Doux
8' Flute
8' Great
to Pedal
8' Swell to Pedal
8' Choir/Positiv to Pedal
CHOIR/POSITIV
8' Erzahler
8'
Rohr Gedackt
4' Principal
4' Flute
2' Octave
8' Swell to Choir/Positiv
GENERAL 8(Brighter Foundations)
GREAT SWELL
8' Principal 8' Viola Pomposa
8' Bourdon 8' Gedackt
4' Octave 8' Gamba
4' Flute 4' Principal
2'
Super Octave 4' Nachthorn
2' Waldflote
2' Blockflote
Mixture V
Plein Jeu IV
8' Swell to Great 8' Choir/Positiv to Swell
GENERAL 10 (Full Organ)
GREAT SWELL
8' Principal 16' Bourdon Doux
8' Bourdon 8' Viola Pomposa
8' Gemshorn 8' Gedackt
4' Octave 8' Gamba
4' Flute 4' Principal
2' Super Octave 4' Nachthorn
Mixture V
2' Blockflote
16' Contre Trompette Plein Jeu IV
8' Swell to Great 16' Contre Trolnpette
4' Swell to Great 8' Trompette
8' Choir/Positiv to Great 8' Swell to Pedal
4' Choir/Positiv to Great 8' Choir/Positiv to Pedal
CHOIR/POSITIV
8' Rohr Gedackt
22/3' Nasard
2' Octave
l' Sifflote
Mixture
IV
PEDAL
16' Principal
16' Subbass
16' Bourdon Doux
8' Octave
8' Flute
4' Choralbass
8' Great to Pedal
8' Swell to Pedal
CHOIR/POSITIV
8' Erzahler
8' Rohr Gedackt
4' Principal
4' Flute
2' Octave
2' Piccolo
l' Sifflote
Mixture
IV
8' Krummhorn
8'
Swell to Choir/Positiv
4' Swell to Choir/Positiv
PEDAL
32' Contra Principal
32' Contre
Bourdon
16' Principal
16' Subbass
16' Violone
16' Bourdon Doux
8' Octave
8' Flute
4' Choralbass
4' Nachthorn
2' Flute
Mixture IV
16' Contre Trompette
8' Trompette
4' Clairon
8' Swell to Pedal
8' Choir/Positiv to Pedal
16