Yamaha Electone E-5AR User manual

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Congratulations upon your selection of this exciting musical
instrument. Whether you are a beginner or master of organ
techniques, you now have command of a wide array of
expressive possibilities.
Please read this manual thoroughly to be sure you are
familiar with every feature, and with all the many ways
you can use each one. With proper care and a little time
together you and your Electone can become lifelong partners
in musical creativity.

+
CONTENTS
Page
Main Sections and Controls ...................... 2
The Tone Levers ........... LL 3
Portamento, Auto Rhythm Section ................ 4
Rhythm -Stop > sicilia a ea a 5
Preset Tones — Preset Tablets, Upper Preset Cancel
{Knee lever), Preset Pistons, Pedal
Solo Piston . ................... 6-7
Percussive, Attack 1'4', Upper Vibrato, Lower Vibrato,
Touch Vibrato ............ cee eens 8
Expression Pedal, Expression Pedal Switch and
Tablets—Glide, Damper, Wah-Wah. ................. 9
Sound-in-Motion Tremolo, Flute Split .............. 10
Sustain, Manual Attack, Percussion, Couplers—Upper to
Upper 16’, 4’. 2’, Lower 8'.4' to Upper .......... 11
Reverb, Brilliance ................eeeeeeeeeesenen 12
Roll-Top Fallboard, Power Switch, Headphone Jack,
Ext lin Jack: 65.00.45 ue ire a aly ties ai dua AE 13
Electone Care, Moving the Electone, Maintenance,
Plugging the Electone In ........... cc eee eee ees 14
Do not Be Alarmed If ........... cee eee eee eee eee 15
Playing the Electone ........... 0... LL 15
Registration Guide — Section |, Section Il,
Section III, Section IV ..... 16 - 20
Specifications ........... eleve n nn ne ee kn mann kann n 21
-1-

Main Sections and Controls
Vibrato Levers Lower Manual Tone Levers
| Pedal Tone Levers
Percussion Levers i
Master Volume
Brilliance
Rhythm
Section
Í
Power
Switch
Upper Manual Tone Levers
Por tamento Tone Selectors
Percussive Levers
Upper Preset
Effect
Tablets
Controls
Tremolo
Selectros
Foot Switch
Upper
Sustain,
Attack,
Controls
Upper
Preset
Cancel
Percussion
Buttons
Flute
Split
Selectors
Preset
Board
Headphone
Jack
Portamento
Preset Pistons
Upper Manua
Lower Manual
Pedalboard
Expression Pedal

+
The Tone Levers
Each
of
these
levers
imparts
its
particular
voice
to
the
notes
played
on
the
manual.
There
are
two
ways
to
set
each
lever.
If
you
are
a
beginner
or
just
learning
a
new
registration,
use
the
click-stop
po-
sitions
shown
in
the
illustration.
By
noting
down
or
remembering
the
positions
for
each
lever
in
a
particular
combination,
that
registration
can
be
exactly
duplicated
at
any
time
without
guesswork.
The
numbers
corresponding
to
the
tone
lever
click-stop
settings
are
used
in
all
Yamaha
notation
and
registration
suggestions.
As
you
gain
self-assurance
and
mastery
of
the
Electone
registrations,
the
click-stops
may
prove
to
be
a
limitation.
In
that
case,
simply
ignore
them.
Each
lever
is
continuousiy
variable
from
off
to
full,
so
you
can
blend
in any
tone
precisely
as strong as you
want it.
Remember
that
each
tone
lever
is
in
fact
a
volume
control
for
that
voice,
so
the
more
fully
you
combine
voices
for
a
manual,
the
louder
that
manual's
overall
volume
becomes.
This
can
be
compensated
for
with the
Manual
Balance
control.
What's a ‘Foot’?
Tone
lever
voices
come
in
several
types:
16’,
8’,
51/3’,
4’,
22/3’,
2’,
13/5’
and
1’,
These
foot
marks
indicate
the
relative
pitch;
they
at
one
time
referred
to
the
length
of
the
pipe
in
a
pipe
organ,
with
longer
pipes
producing
lower
tones.
The
8'
voice
is
a
“fundamental,”
which
means
that
it
creates
a
tone
when
a
key
is
pressed
the
same
as
that
produced
when
the
same
key
on
a
piano
is
played
—
in
other
words,
it
corresponds
to
the
written
note.
A
16'
tone
is
exactly
one
octave
lower,
4'
one
octave
higher
than
8',
2'
still
another
octave
higher
and
1’
an
octave
above
that.
The
other
harmonics
are
not
octaves.
These
various
harmonics
can be combined
for
extra
tonal richness.
FLUTE
8"
FLUTE
4°
FLUTE
2°
FLUTE
1°
BASSOON
16°
BRASS
8
KINURA
8
STRING
4°
STRING
2°
FLUTE
16°
`
FLUTE
54°
FLUTE
25°
FLUTE
13°
TROMBONE
16°
CLARINET
8°
OBOE
8
STRING
8°
STRING
23°
223302221320323103
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Portamento
The
Portamento
strip
produces
a
continuously
pitch-shifted
sound
just
like
the
one
created
by
a
finger
sliding
on
a
violin
string.
There
are
five
different
portamento
voices,
all
preset
combinations.
Precedence
among
the
portamento
voice
selector
tablets
is
to
the
right;
if
two
or
more
are
set
on,
the
one(s)
to
the
left
are
cancelled,
except
for
Tenor
and
Soprano
Whistles
which
will
play
together.
This
section
has
its
own
volume
control,
continuously
adjustable
so
that
the
portamento
volume
can
be
perfectly
balanced
with
the
other
sections.
Do
not
forget
that
the
portamento
strip
can
be
played
by
sliding
your
finger
up
and
down,
and
also
one
note
at
a
time
by
tapping
with
the
fingertip
at
the
appropriate
places.
Auto
Rhythm
Section
This
section
has
14
different
rhythm
accompaniments,
each
with
its
own
selector
button.
There
are
also
rhythm
Volume,
Tempo
and
Tone
Balance
controls,
a
tempo
indicator
lamp
and
two
start
switches.
Tempo Control
Indicator Lamp
Rhythm Start
Synchro-Start
‘Rhythm Selectors
“Volume Control
—Balance Control

To
use
the
rhythm
section,
first
push
the
desired
selector
button
(or
buttons
—
you
can
combine
rhythms).
Then
switch
on
normal
Start.
The
rhythm
will
begin and
you
can
adjust
the
tempo,
volume
and
tone
balance.
Now
switch
the
Start
button
back
off
and
you are
ready. If
the
Start
button is
switched
on,
the
rhythm
will
begin
immediately.
You
can
also
leave
it
off
and
switch
on
Synchro-Start
instead.
This
will
automatically
begin
the
rhythm
the
instant
a
lower
manual
note
or a
pedal
note
is
played,
letting
you lead in
with
a melody
or introductory
notes
on
the
upper
manual
first.
Rhythm Stop
Switch the Rhythm Stop tablet on. The expression pedal, can be moved from side to side to switch
on
and
off
it's
tablet-controlled
effects.
Move
to
the
left
once
to
stop
the
rhythm
instantly
at
any
time
without
using
your
hands;
move
to
the
left
once
again
to
restart.
This
switch
functions
only
when the rhythm section is operating.
Note: When a rhythm is playing the tempo indicator lamp will flash the first beat of every measure.
When the Synchro-Start switch is on and a rhythm set, but the section is not operating because
— no lower manual or pedal note has been played,
or
— it has been stopped by the foot switch,
the lamp will flash every quarter note.

Preset Tones
There
are
two
series
of
on/off
preset
combination
selectors:
upper
manual
preset
tablets
and
preset
pistons
which
work
with
the
pull-out
drawer.
Preset Tablets
Precedence
is
to
the
right
and
down
for
these
tablets.
in
other
words,
Banjo
takes
precedence
over
Vibraphone
and
Piano
over
Banjo,
while
the
Guitar
will
cancel
any
other
tablet
set.
In
addition,
any
tablet
will
also
automatically
cancel
all
individual
voice
levers
for
the
upper
manual.
This
unusual
feature
‘lets:
you"
switch
back
and
forth
between
panel
setting
and
preset
combination
at
the
flick
of
a single lever.
Upper Preset Cancel (Knee lever)
To
switch
back
and
forth
between
a
piston
and
any
upper
manual
setting,
first
press
the
U.Preset
Cancel
tablet.
This
brings
the
knee
lever
into
play.
When
the
knee
lever
is
then
pressed,
the
upper
manual
panel
setting
(individual
voices
or
preset
tablet)
will
play;
when
the
knee
lever
is
released,
the
piston
setting
will
play.

Preset Pistons
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The piston combinations are set by the voice preset board. Each piston corresponds to a set of miniature
tone levers on the board. Pistons (1) and (2) are upper manual voices only, (3) is a full manual set and
(4) is a special combination preset at the factory. The black (C) piston cancels the others. To switch
from one piston to another it is not necessary to use the (C) piston.
Each of the miniature levers is continuously variable, duplicating this unique characteristic found in the
console levers. These levers also have the same click-stop positions and are arranged in the same order
for quick setting. The voice names are abbreviated (FL=Flute, etc.).
The pistons take precedence over all other upper manual settings — in other words, they cancel both
individual voice levers and the preset levers. When a piston combination is on, that piston's built-in
lamp will light.
Pedal Solo Piston
This piston frees the pedals from the other manuals so that it becomes an independent section of the
organ, with its own volume adjustment knob. This lets you accentuate the bass tones for pedal solo, etc.

Percussive
Changing
the
beginning
of
some
or
all
notes
can
do
wonders
for
lively
selections.
The
three
percussive
levers
will
each
add
a
special
accent
to
all
upper
manual
tones.
Each
is
also
continuously
variable,
so
you
can
match
the percussive
effect
to
any
selection. Use
the
Length
lever to
control
the
time
of
decay
for
this
effect.
Percussive adds a very modern touch, and is ideal for jazz and rock music.
Note: The 4' Percussive lever will not function when the Sustain tablet is on.
Attack 1%’
This effect gives you greater definition to the
beginning of notes played imparting new clarity
and vigor to jazz and other lively pieces. Please
note that this effect can only be used for the
upper manual tones; the pitch is two octaves
and a fifth above the fundamental.
Upper Vibrato, Lower Vibrato
Use these two continuously variable levers to
achieve an automatic vibrato on upper or lower
manuals,
or
both,
perfectly
tailored
to
your
I
selection. Each Vibrato lever controls the ef-
fect's intensity, and there is also a special knob i
for each, controlling its speed.
Touch Vibrato
This world-famous Yamaha exclusive gives the
organist the same fingertip expression enjoyed
by violinists. Switch on the lever and move
your finger laterally on the key; the Electone
will respond with a vibrato that translates your
emotion into sound.

IIC et |
Expression Pedal
Push down the pedal to control the volume of
each note or phrase. This pedal is extremely
important for adding emotion to your playing.
The pedal is balanced to stay in any position
once set, Rest the entire right foot on the
pedal and relax it, pressing with the toe to in-
crease volume, with the heel to decrease it.
The overall volume — that is, the range in
which the expression pedal works — should be
set with the Master Volume control,
Expression Pedal Switch
and Tablets
The expression pedal, in addition to moving
up and down to control the Electone's overall
volume, can also be moved from side to side
to switch on and off five different tablet-
controlled effects.
One of these, Rhythm Stop, has been discussed
in the Auto Rhythm section, and for this effect
the switch works on a click-on, click-off basis.
For the Glides and Damper, the switch works
on a click-on/release-off basis; its effect lasts
only as long as the pedal is swiveled to the
left.
To fully activate the Wah-Wah, the pedal must
be swiveled from far left to far right.
Glide y
With either of these tablets set the pitch of any
note on that manual will drop approximately
one half tone when the foot switch is swiveled
left, rising to its true pitch as soon as the
switch is released.
Glide also cancels the vibrato effect at the same
time that it lowers the pitch.
DAMPER WAH-WAH -RHYTHM
Damper STOPPER
This effect functions like the piano damper me- | iu EXP. SELECT SAD,
chanism to sustain all notes for these five
upper manual preset voices:
Piano, Harpsichord, Guitar,
Vibraphone, Chimes
Wah-Wah
With this tablet on, each time the foot switch
is swiveled, it makes the upper manual tones
sound like a trumpeter had just closed and
opened his mute.

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Sound-in-Motion Tremolo
This tremolo is unique in one important respect: it is produced by a rotating speaker, not simply a
moving
baffle
or
an
electronic
system.
The
fact
that
the
speaker
rotates
not
only
explains
its
realistic
beauty, but also controls the way it is used.
The
two
tremolo
tablets
on
the
right
set
the
rotating
speed.
Tremolo
is
faster
(approx.
six
revolutions
per
second),
and
adds
a rich
throbbing
effect
reminiscent
of
a
mighty
theater
organ. Chorus is a
slower
speed
(one
revolution
per
second),
more
suited
to
stately
or
liturgical
numbers.
More
subtle
speed
variations are
possible
with
the
continuous Tremolo
Speed
control knob.
The
two
left
tablets
(Upper
Voice,
Lower
Voice)
feed
the
upper
manual,
lower
manual
or
both
signals
to either
the
rotary
speaker
or
the
main.
Playing
one manual
through
the main
speaker and
the
other
through
the
rotary
is
extremely
effective in
changing
the emotional
color of
your
renditions.
The
middle
tablet
switches
on
the
Ensemble
system,
which
plays
each
note
through
both
rotary
and
main
speakers.
The
voice
tablet
must
be
on
“Rotary”
for
the
ensemble
tablet
to
work.
Tremolo
cannot
be
used
with
the
upper
manual
preset
tablet
voices
(Piano,
etc.),
but
it
will
function
with
the
preset
piston
combinations.
—— 1111—r ——_ _———_———————_ÉÉÉ——_———_É _
LOWES
ENSEMBLE) | TREMOLO |
2
VOICE VOICE
ROTARY ROTARY
With
this
tablet
switched
on
all
flute
voices
coming
from
the
upper
manual
are
fed
through
the
rotary
speaker,
while
all
others
are
heard
through
the
main
speaker.
The
result
adds
that
special
theatrical
feeling
via
a
special
tremolo effect.
When
the
Upper
Flute
Split
tablet
is
on,
the
setting
of
the
Upper
Voice
tremolo
selector
will
be
canceled.
Note:
The Tremolo and Chorus
tablets switch the tremolo
speaker mechanism on and
NORMAL off. If both these tablets
|
Flute Split
i
are off, the speaker will
UPPER | UPRESET MANUAL not rotate, and no tremolo
SUSTAIN | | CANCEL | ATTACK will be produced even
| though one or more of the
ON KNEE) FAST other three tablets is feed-
ing signals through this
speaker.

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Sustain
Pedal
Sustain
is
continuously
variable
and
this
effect
can
be
easily
adjusted
from
short
to
long
with
the
special
control
located
to
the
left
of
the
upper
manual.
It
is
extremely
useful
for
changing
bass
effects.
The
manual
Sustain
controls
offer
the
same
type
of
continuously
variable
adjustment,
but
once
set,
each
can
then
be
instantly
switched
on
or
off
via
the
Upper
16’
8’
4’
Sustain
and
Lower
8'
4’
Sustain
tablets.
Manual Attack
This
effect
provides
changing
definition
to
the
beginning
of
16’,
8"
and
4’
upper
manual
voices,
plus
8’
and
4'
lower
manual
voices.
It
determines
the
speed
with
which
these
voices
speak
—
i.e.,
the
interval
between
the
time
the
key
is
depressed
and
the
resulting
tone.
Percussion
As
their
names
imply,
three
of
these
levers
provide
accompanying
sounds
to
each
note
—
brush
and/or
cymbal
for
lower
manual
notes,
cymbal
for
pedal
tones.
In
addition,
the
two
Button
levers
determine
the
sounds
which
will
be
produced
by
the
four
white
buttons,
The
percussion
levers,
as
all
other
effect
levers,
are
continuously
variable.
Couplers
The
coupler
levers
have
an
extremely
important
influence
upon
the
Overall
tonal
versatility
of
the
E-5AR.
Because
of
their
function,
they
are
on/off
only,
not
continuous.
Upper to Upper 16’. 4’. 2’
When
this
coupler
is
used
with
16’,
8’
and
4'
upper
manual
voices
it
adds
three
consonant
harmonics
to
each
voice
(16',
4'
and
2’
harmonics
to
8’
voices,
8’,
2'
and
1’
harmonics
to
4’
voices
and
32’,
8'
and
4'
harmonics
to
16'
voices).
For
example,
added
to
Clarinet
8'
it
provides
Clarinet
16',
Clarinet
4'
and
Clarinet
2’,
none
of
which
are
available
through
the
tone
levers.
In
this
way
the
lever
serves
to
expand
the
E-BAR?'s
range
of
complex
tonal
possibilities.
Lower 8'. 4’ to Upper
With
this
lever
on,
all
8’
and
4’
lower
manual
voices
which
are
set
on
will
be
produced
with
any
upper
manual
key.
This
lets
you
create
a
deep
cathedral
effect,
especially
when
used
with
lower
manual
Vibrato.
Note:
The
String
Celeste
will
not
couple
up
to
the
upper
manual
as
it
is
already
borrowed
from
the
upper
manual
generator.
-11-

Reverb
This continuous control iets you add a fullness to
your playing much like the acoustics of a concert
hall. Use Reverb to compensate for a “dead” room
with dull acoustics (due to furniture, rugs, drapes,
etc.).
Brilliance
This continuously variable lever changes the over-
all mood of both manuals, making them quiet and
sombre or providing brighter, richer tonal effects.
For example, it affects string voices in the same way
asa violinist would brighten his tone by adding more
rosin to his bow.
Brilliance affects only upper and lower manuals.
BRILLIANCE

RF
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r———rtresy
Roll-Top
Fallboard
I
When the organ is not in use the keys can be protected against dust and damage by rolling down the
fallboard. Pull the fallboard by its front edge so that it rolls in the side tracks; do not attempt to lift up.
Open it in the same way — by sliding it in the tracks. The fallboard can be locked if necessary.
The fallboard is also coupled to the power switch. When the fallboard is closed the power is automatically
shut off, regardless of the switch position.
Power Switch
Incorporates a built-in lamp which lights whenever the switch is on and power is flowing. Make it a
practice to turn this switch off whenever you leave the Electone.
Headphone Jack
An optionally available Yamaha headphone set can be plugged into this jack. With the headphones
connected, the speakers are automatically shut off, allowing you to play or practice at any volume level
without disturbing anyone else in the house.
Ext. In Jack
This small jack is located on the rear of the
Electone. You can connect a tape recorder,
record player or radio to it and then play
through the Electone amplifier and speaker.
When connecting other equipment, however,
be sure to match impedances; the Ext. In jack
has an impedance of 30Kohms.
Signals entering through the Ext. In jack are
not regulated by the expression pedal, so
you can play along with recorded or broad-
cast music in this way. If you have a
recording of yourself on the Electone, you
can play it back in this way and forma
one-man duet.
-l3-

Electone Care
The
organ
console
and
bench
are
manufactured
using
select
woods,
naturally
and
kiln
dried
for
absolute
warp-free
dependability.
Treat
the
finish
as
you
would
that
of
any
other
fine
piece
of
furniture.
Keep
it
free
of
dust
and
moisture,
and
polish
with
high
quality
firniture
polish
(avoid
preparations
containing
silicone).
Always
dust
thoroughly
(although
lightly)
before
polishing,
so
that
accumulated
dust
is
not
ground
into
the
finish.
Dampness
or
water
has
an
adverse
affect
on
wood.
Never
wipe
the
finish
with
a
cloth
dampened
in
water.
Be
careful
not
to
let
any
water
spill
on
the
finish.
The
expression
pedal,
pedalboard
keys,
manual
keys,
levers,
tablets
and
buttons,
on
the
other
hand,
are
made
of
special
materials
which
resist
dampness,
and
they
can
therefore
be
cleaned
with
a
soft,
damp
cloth.
Moving
the
Electone
Two
hand
holes
are
provided
on
the
back
of
the
Electone
for
easier
handling.
The
unit
should
slide
easily
on
its
built-in
casters.
If
the
set
is
to
be
moved
to
a
different
building,
for
example,
when
you
move
your
residence,
check
with
your
local
Electone
dealer
concerning
necessary
precautions.
Maintenance
Yamaha
Electone
dealers
are
available
for
help
and
servicing
almost
everywhere
in
the
world.
These
dealers
are
part
of
a
thorough
network
of
service
and
education,
and
they
receive
complete
technical
information
and
parts
from
the
Yamaha
factory.
They
are
also
assisted
by
graduates
of
the
Yamaha
Factory
Training
Schools,
men
who
know
every
aspect
of
every
Electone.
That
is
why
you
should
always
consult
a
Yamaha
Electone
dealer
if
you
have
any
questions
or
need
service.
Only
Yamaha
representatives
are
capable
fo
providing
this
service.
Under
no
circumstances
should
you
open
the
cover
or
attempt
to
test
or
repair
the
Electone
yourself,
While
its
sophisticated
integrated
circuitry
will
provide
the
highest
standards
of
durable,
trouble-free
performance
when
properly
cared
for,
it
can
also
be
seriously
damaged
by
improper
checking
or
main-
tenance
procedures.
Plugging
the
Electone
In
Your
Electone
is
set
to
operate
on
local
current,
and
is
ready
to
play
as
soon
as
the
plug
is
inserted
into
an
AC
consent.
If
you
have
any
reason
to
believe
the
power
regulation
is
improper,
or
if
you
move
to
a
locale
where
you
believe
the
power
supply
is
different,
check
with
your
local
Yamaha
Electone
dealer
to
avoid
possible
damage.
-14-
si deu

ec = e] c°"r_—°6___r_. on RE)
Do not Be Alarmed If--- ki
the Electone does not operate when the power switch is turned on, check the following:
1. Is the plug fully inserted into an AC outlet (the same as you use for a lamp, etc.)? Reinsert it to
be sure.
2. Is there power coming from that outlet? Unplug the Electone and plug in a lamp; then see if the
lamp will light. If it does not, the problem is probably in your home's electrical system. Check your
fuses or circuit breakers.
3. If you find that there is power in the outlet, but the Electone does not play, unplug the cord and
call your nearest Yamaha dealer. “There are NO USER-SERVICEABLE PARTS in the Electone.
Playing the Electone
First turn on the power .switch. No warm-up period is required. You can tell that the power is on
because the pilot lamp will light; the Electone is so quiet that this lamp will be the only way you can
check whether the Electone is on when you are not playing.
Next, set up a registration (set all the levers and controls you wish to use for the upper and lower manuals
and the pedals). Select tone combinations according to suggestions in the music you are going to play,
or experiment with your own combinations. Remember that the registration noted on any sheet of
music is no more than a suggestion, and your idea may well be even more suitable.
By the same token, do not be alarmed if you have a piece of music with no registration for your organ.
With a bit of imagination you can approximate the registration for a different organ, going on to im-
provise on your own. This will be an ever-new source of creative enjoyment as you become more and
more familiar with the various Electone controls and effects.
Many new song collections now have Electone registrations. See your Yamaha dealers.

Registration Guide
Now
that
you
are
the
owner
of
a
new
Yamaha
E-5AR,
you
will
probably
want
some
ideas
for
exploiting
the
versatility
of
this
magnificent
instrument.
The
E-BAR
was
designed
to
be
the
most
flexible
home
organ
ever
offered
to
the
public.
The
concept
we
had
in
mind
was
to
provide
the
basis
for
any
of
the
many
different
types
of
organ
sounds
and
musical
moods,
from
classical,
theater
and
orchestral
tones
to
special
effects
and
professional,
commercial
sounds.
All
of
this
is
now
at
your
fingertips.
The
purpose
of
the
following
pages
is
to
give
you
just
a
few
of
the
possible
combinations,
some
of
the
more
interesting
ones
we
have
discovered.
We
have
tried
to
be
representative
of
all
tastes.
Experiment
on
your
own
to
find
the
sounds
that
you
like
best,
for
that
is
a
significant
part
of
the
fun
in
owning
such
a
diversified
instrument.
The registrations are divided into four sections:
I.
SOUND
EFFECTS
(A
partial
listing
and
explanation
of
some
of
many
sound
effects
the
E-5AR
is capable of.)
ll.
GENERAL
COMBINATIONS
(General
set-ups
for
all
the
various
styles
of
straight
organ
playing.)
III.
SOLO
SOUNDS
(Various
solo
voices
. . .
orchestral
and
organ.)
IV. SPECIAL EFFECTS
In
the
upper,
right
hand
corner
of
the
console,
directly
above
the
power
switch,
you
will
find
three
variable
knobs
for
control
of
vibrato
speed
(lower
and
upper)
and
tremolo
speed.
Normaliy,
these
should
be
set
with
the
dot
on
the
knobs
in
the
approximate
position
of
1
o'clock
on
the
face
of
a
standard
clock.
Of
course,
the
reason
they
are
controllable
is
to
allow
for
differences
in
taste;
so
please
feel
free
to
experi-
ment.
“The
same
applies
to
the
tuning
of
the
two
generators
from
the
knobs
in
the
setter-drawer.
You
will
find
suggested
tunings
with
every
registration,
usually
11
o'clock
upper
and
9
o'clock
lower.
If
a
variant
from
these
settings
is
indicated,
it
is
usually
a
necessary
part
of
the
registration.
Enjoy
your
new
E-5AR!
x o GIRO
Bian

an TZ ZI TÉ El
Section I d
TRAIN:
Set
up
the
registration
for
"Train"
found
in
Section
IV.
To
start
the
train,
hold
dovvn
all
the
notes
on
the
upper
keyboard
from
the
lowest
“B”
down
to the lowest
“F”,
including
the
black
keys.
With
the
Repeat
Speed
lever
in
approximately
the
first
position,
you
should
now
be
hearing
a
very
slow
chug
. . .
chug
. . .
chug
.
.
.
as
the
train
starts
out.
Increase
the
speed
gradually
by
slowly
depressing
the
Repeat
Speed
lever
further
down
until
the
desired
speed
is
attained.
To
blow
the
whistle,
play
"F,
A,
C#”
above
“middle
C”
on
the
lower
manual
and
move
the
expression
pedal
to
the
left
a
couple
of
times
(“L.
Glide
should
be
on).
.To
go
through
a
tunnel,
cancel
all
upper
manual
stops
except
the
Flutes
16’
and
8’
and
add
a
little
Flute
2
2/3".
To
come
out
of
the
tunnel,
return
to
the
original
registration.
You
can
cross
a
bridge
by
adding
the
String
4.
To
stop
the
train,
just
reverse
the
whole
procedure.
When
you've
stopped
the
train
completely,
you
can
let
the
steam
out
of
the
brakes
by
depressing
the
right
hand white
button (closest
to
the
keyboard)
to
the
left
of
the
lower
manual.
SIREN:
Using
the
“Squawk”
on
the
Portament,
start
at
the
far
right
end
of
the
felt
strip
at
a
low
volume.
Move
your
finger as
you think
a
siren
should
sound
as
you
increase
the
volume.
CAT CALL: Register.”Soprano Whistle” on Portament and move your finger as you would your tongue
if you were whistling.
BIRDS:
Register
“Birds”
on
the
Portament
and
using
short
right
to
left
strokes,
execute
your
bird
calls
at
different
pitches
all
along
the
felt
strip.
OCEAN
SURF:
To
the
left
of
the
lower
manual,
there
are
four
white
percussion
buttons.
While
holding
down
the
two
closest
to
the keyboard,
intermix the two
“Button”
controls
at
the
far right
end
of
the stop
rail.
Push
the
first one
down
slowly
and
then
add
the
second
. .
.decrease one
at
a
time
in
the
same
manner.

Section II
FULL ORGAN (Theater)
UPPER:
Brilliance 12)
Flute 16' (3)
Flute 8 (3)
Flute 4' (3)
Flute 2 (3)
Flute TE (3)
Bassoon 16" (3)
Kinura 8' (3)
String 8' (3)
String 4 (3)
String 2 (3)
Coupler L, 8! 4’ to U, On
Vibrato — Upper (1)
LOWER:
Vibrato — Lower (1)
Flute 8 (3)
Flute 4 (2)
Flute 22/3’ (1)
Flute 2 ma
Diapason 8' (3)
Diapason 4 (2)
String 8' (3)
String 4 (2)
String Celeste (3
PEDAL
Bass 16° (3)
Bass 8 (1)
Tuba 16 (2)
Tuba 8' 2
EFFECT CONTROLS:
Reverb: t
Pedal Sustain: "i. i
Manual Balance e
EFFECT SWITCHES:
Lower Voice: Rotary
Upper Voice: Rotary
Tremolo: On
Flute Split: On
Manual Attack: Normal
TUNING (Pitch):
Upper: 12 O'Clock
Lower: 9 O'Clock
PIANO & ORGAN
ENSEMBLE
UPPER: (Both Hands)
Brilliance (3)
Coupler L. 8! 4’ to U. On
UPPER PRE-SETS:
Piana On
LOWER:
Vibrato — Lower (1)
Flute 8' (3)
Flute 4 (2)
Diapason 8' (3)
Diapason 4 (2
Cello 8' (3)
Cello 4' (2)
String Celeste (3)
PEDAL:
Bass 16' (3)
Bass 8' (1)
EFFECT CONTROLS:
Reverb: de,
Pedal Sustain: +, ,
Manual Balance: et:
EFFECT SWITCHES:
Lower Voice: Rotary
Upper Voice: Main
Tremolo: On
Manual Attack: Normal
Damper: On
TUNING (Pitch):
Upper: 12 O'Clock
Lower: 9 O'Clock
CLASSICAL ORGAN (8 va)
UPPER:
Brilliance (3
Attack 11/3” (2)
Flute 8' (3)
Flute 4 (3)
Flute z {3)
Fiute v (3)
Rinura 8' (3
String T (3)
Coupler U, to U. 16' 4' 2'
Coupler L. 8' 4’ to U. On
LOWER:
Flute 2 (3
Diapason 8' (3)
Diapason 4 (3
PEDAL:
Bass 16' (3)
Bass 8' (3
Bass 4' (3)
Tuba 16° (3)
Tuba 8' (3)
EFFECT CONTROLS:
Reverb: DI
Pedal Sustain: J+ ,
Manua! Balance: i
EFFECT SWITCHES:
Lower Voice: Rotary
Upper Voice: Rotary
Chorus: On
Flute Split: On
Manual Attack: Normal
Pedal solo — On Full
TUNING (Pitch):
Upper: 11 O'Clock
Lower: 9 O'Clock
THEATER ENSEMBLE
UPPER:
Brilliance (1)
Flute 16 (3)
Flute 4 (3)
Flute 13/5 (3)
Bassoon 16° (2
String 8' (3)
Coupler L, 8’ 4' to U. On
Vibrato — Upper (1)
LOWER:
Vibrato — Lower (1)
Flute 8 (3)
Fiute 4 (2
Diapason 8' (2)
Cello 8' (2)
String Celest (3)
PEDAL:
Bass 16° (3)
Bass 8' a
EFFECT CONTROLS:
Reverb: de
Pedal Sustain: ` «j. ,
Manual Balance: 2t.
EFFECT SWITCHES:
Lower Voice: Rotary
Upper Voice: Rotary
Tremolo: On
Flute Split: On
Manual Attack: Normal
TUNING (Pitch):
Upper: 12 O'Clock
Lower: 9 O'Clock
EARL GRANT SOUND #1
UPPER:
Brilliance (3)
Length a)
Up Perc. 233 1)
Flute 16° (3)
Flute 8' (3)
Flute 53 (3)
Flute 4 {3}
Flute 243" (3)
Flute 2: (3)
Flute 1375" (2)
Flute 1 ma
Vibrato — Upper (1)
LOWER:
Flute 8 (3)
Flute 4 (2)
Vibrato — Lower {1}
PEDAL:
Bass 16" (3)
Bass 8' (2)
EFFECT CONTROLS:
Reverb: 4
Pedal Sustain:
Manual Balance:
EFFECT SWITCHES:
Lower Voice: Rotary
Upper Voice: Rotary
Tremolo: On
Manual Attack: Fast
TUNING (Pitch):
Upper: 11 O'Clock
Lower: 9 O'Clock
EARL GRANT SOUND #2
UPPER:
Brilliance (2)
Flute 16' (3)
Flute 8' (1)
Flute 13/5" (1)
Flute v (3)
Coupler L. 8' 4' to U, On
Vibrato — Upper (1)
LOWER:
Vibrato — Lower (1)
Flute 8 (3)
Flute 4' (1)
PEDAL
Bass 16 (3)
Bass 8' ma
EFFECT CONTROLS:
Reverb: a+
Pedal Sustain: sj.,
Manual Balance: i.
EFFECT SWITCHES:
Lower Voice: Rotary
Upper Voice: Rotary
Tremolo: On
Manual Attack: Fast
TUNING (Pitch):
Upper: 11 O'Clock
Lower: 9 O'Clock
FULL TIBIAS
UPPER:
Brilliance (3)
Flute 16° (3)
Flute 8' (3)
Flute 4 (3)
Flute 22/3’ (2)
Flute 3 z (2)
Flute 1% (2)
Coupler L. 8' 4’ to U. On
Vibrato — Upper (2)
LOWER:
Vibrato — Lower (2)
Flute 8' (3)
Flute 223! m)
Flute 2 (2)
PEDAL
Bass 16° (3)
Bass 8' a
EFFECT CONTROLS:
Reverb: +
Pedal Sustain n
Manual Balance: — et.
EFFECT SWITCHES:
Lower Voice: Rotary
Upper Voice: Rotary
Tremolo: On
Manual Attack: Normal
TUNING (Pitch):
Upper: 11 O'Clock
Lower: 9 O'Clock
-18-
JAZZ ORGAN
UPPER:
Brilliance (3)
Length {1)
Up. Perc. 4' (1)
Flute 16° (3)
Flute 8' (3)
Flute 5i/3' (3)
Flute 13/5" (3)
Fiute 1 (3)
Vibrato — Upper {1)
LOWER:
Flute 8' (3)
Flute g (1)
Vibrato — Lower (1)
PEDAL:
Bass 16° (2)
Bass 8' (2)
EFFECT CONTROLS:
Reverb: 4
Pedal Sustain: .
Manual Balance: -1-
EFFECT SWITCHES:
Lower Voice: Rotary
Upper Voice: Rotary
Ensemble: On
Chorus: On
Manual Attack: Fast
TUNING (Pitch):
Upper: 11 O'Clock
Lower: 9 O'Clock
FUNKY ORGAN
UPPER:
Brilliance {3)
Length (1)
Up. Perc. 22/3" a
Flute 16° (3)
Flute ss. (3)
Flute 5'73" (3)
Vibrato — Upper (1)
LOWER:
Vibrato — Lower (1)
Flute 8' (3)
Flute 4 (1)
PEDAL:
Bass 16° (3)
Bass 8' (2
EFFECT CONTROLS:
Reverb: «3.
Pedal Sustain:+j. —,
Manual Balance: «t+
EFFECT SWITCHES:
Lower Voice: Rotary
Upper Voice: Rotary
Tremolo: On
Flute Split: On
Manual Attack: Fast
TUNING (Pitch),
Upper: 11 O'Clock
Lower: 9 O'Clock
HYMNS
UPPER:
Brilliance (3)
Flute 8 (3)
Flute 4 (3)
Flute 2 (3)
Flute v (2)
Coupler L. 8' 4' to U. On
LOWER:
Flute z (3)
Diapason 8' (3)
Diapason 4 (3)
PEDAL:
Bass 16° {2)
Bass 8' (2)
EFFECT CONTROLS:
Reverb: «t+
Pedal Sustain: an
Manual Balance: °°
EFFECT SWITCHES
Lower Voice: Rotary
Upper Voice: Rotary
Ensemble: On
Chorus: On
Manual Attack: Normal
TUNING (Pitch):
Upper: 11 O'Clock
Lower: 9 O'Clock