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
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