OWNER'S MANUAL RODGERS CLASSIC SERIES 200/205

OWNER'S MANUAL RODGERS CLASSIC SERIES 200/205

ovJNER' s MANUAL FOR

RODGERS CLASSIC SERIES 200/205

RODGERS ORGAN Marketing Offices

100 Wilmot Road · Deerfield, Illinois 60015

A Member of CBS Musical Instruments, A Division of CBS, Inca

CONTENTS

In traduction ............................................... . 1

The Musical Resources of the Rodgers Classic Series 200/205 ...... 2

The The The The

Principal (or Diapason) Family. Flute Family .......... . String Family and Celestes .. Reed Family ............... .

3 3 4 5

Specification List ............................................... 6

Special Features. . . . . . . . . . . . . . . • . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Couplers ........... . Combination Action. Flute Chiff. Tremulant .... Expression Pedal .. • Stops Enclosed .. Tuning Control ........ . Stop Lamps Control .....••. Organ Case ........ . Completely Solid-State.

. .

7 7 8 8 9 9 9 9

..10 10

Care and Maintenance .........................•..........•....•... 10

Console and Keyboards

Pedalboard ... and Stop Tabs ..

Pipes ................ .

... .. . . . . . . .11

11 ..11

Five-Year Limited Warranty ......••..........••...........••••.... 12

Registration Suggestions. ••••••••••••••-•••••••,••••e• . .. ••••P.•• .•. 12

Manual I .. II.. Manual

Pedal Organ.

Suggested Memory Settings ...

.• 13

. . 14

..15

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

Rodgers Classic Series 200/205 Memory I ..................... l7

_______ I~l~l.L.-us_tr.ati.o.n-.-----·-----.-.-.-.-.--.-.-.-.-.-.-.-.-.-. . . ..... . . . . . . . . . ............. 2-Q-----


The RODGERS CLASSIC SERIES 200/205 combines the finest pipe

organ tradition and classical tonal schemes with current electronic

technology to give the organist and the listener the finest organ

sound.

The design of this organ began with the development of a specific

ation which allows music of all periods and schools of performance

to be played as accurately to each tradition as possible.

The RODGERS CLASSIC SERIES 200/205 is manufactured to console

specifications set forth by the American Guild of Organists. These

specifications create a uniformity as to compass of keyboards (61

notes) and pedalboard (32 pedals), and the placement of keyboards

in relation to the pedalboard. The latter requirement allows

people of various sizes to comfortably play an organ. There are

also specifications for the placement of drawknobs and couplers.

Rodgers has always adhered to these specifications in its Classic

organs to provide comfortable organs for all to play.

This two manual and pedal organ contains the following divisions:

Manual I, Manual II, and the Pedal Organ. Each division has its

own function in the total scheme of the organ.

MANUAL I (most like the Great Organ) has the boldest Principal

(Diapason) Ensemble and a solid Flute Ensemble to support the

Principals. An appropriate word for Ensemble is Chorus which

generally means that two or more pitch levels (8', 4', 2', etc.)

of a tonal family are sounding simultaneously. They are softer,

accompanimental stops which provide a subtle texture to support

the solo stops of Manual II.

-1-

Rodgers Classic Series 200/205 (Continued)

MANUAL II (most like the Positive Organ) is a contrasting or

"relief" manual. Its stops present a fine variation or contrast

to the stops on Manual I. It is a very useful manual in contrapuntal

music of the baroque period where terraced dynamics are often

accomplished by changing manuals as well as by the number of stops

drawn. Manual II has Principals at the 4', 2', and 1' pitches,

crowned by a mixture. There is also a complete Flute Ensemble

including the mutations of 2-2/3' and 1 3/5'. Celeste and Reed

voices round out the specification and give the manual great tonal

flexibility.

The PEDAL ORGAN is so named because its keys are played by the

feet. The RODGERS CLASSIC SERIES 200/205 has a complete Pedal Organ

which will provide a suitable foundation for any manual registration.

THE MUSICAL RESOURCES OF THE


There are two major catagories of organ tone:

FOUNDATION: This catagory includes Principals (Diapasons), Flutes,

and Strings. These voices are produced by similarly constructed

pipes called flue pipes. The pipe emits sound when air enters the

bottom of the pipe (toe piece), then is channeled through a thin

opening, directing the air column upwards against a lip. The

result is air being excited and causing vibrations to create the

musical tone.

REED: Reeds are pipework whose sound is generated by a metal

tongue vibrating against a metal block, with a cutout portion of

the block facing the tongue. These portions are contained in the

"boot" of the pipe with the resonator (uppermost tubular section)

affecting the timbre (color) and pitch of the particular pipe. Such

voices as the Trumpet, Trompette, Oboe, Dulzian, Krummhorn, Fagot,

Bombarde, and Vox Hurnana are members of the Reed Family.

-2-


The Principal (or Diapason) Family

The Principals are the tonal family that is unique to the organ.

There is no orchestral counterpart to the Principal nor can it be

duplicated by any orchestral instrument. When played as a Chorus,

such as the 8' Prestant, 4' Octave, and 2' Fifteenth on Manual I,

the resulting sound provides body, clarity and the base to which

the other tone families of the organ must relate and blend.

The Mixture is composed of compound pitches of high-pitched

Principal pipes. The pitches used augment the natural harmonic

overtone series. The prime function of the Mixture is to add

sparkle to the foundation tone of the organ. The Roman numerals

on the stop tab indicate the number of pitches sounding when a

single note is depressed, e.g. Mixture III-IV (three to four

pitches, depending on where one is playing on the manual). When

used sparingly with suitable foundation stops and/or reeds, the

Mixture provides the roof or cap of the tonal house. When used

in combinations for hymn playing, Mixtures give pitch clarity

to the ear which results in better congregational singing.

The Flute Family

The Flute family has a dual role in good organ design. The

Flutes must support the Principals and provide another plane of

tone color for solo voices.

The Flutes are unique since the mixing of unison and non-unison

pitches (mutations) gives synthesized solo voices. On the

RODGERS CLASSIC SERIES 200/205 you can make the Classic French

Cornet on Manual II by registering the 8' Gedacktflote, 4' Nachthorn,

2-2/3' Nasat, 2' Waldflote, and l-3/5' Terz. This combination

has a reed quality, particularly in the upper part of ,the keyboard.

-3-


The combination and proper balance of unison and non-unison

pitches which comprise the Cornet is a standard practice of organ

design dating back hundreds of years.

The 1-1/3' Quint on Manual I is useful for adding a subtle

sparkle to any base combination. It is most commonly used

with the 8' and 4' Gedacktflotes to give a very colorful, quaint

sound useful for contrapuntal literature.

The String Family and Celestes

String-toned stops, such as Gambe, Viola, and Salicional, have a

high harmonic development. This causes the sound to be thin and

cutting. The String pipes are actually small scaled (reduced

diameter) Principals that decrease in volume and develop brighter

timbre. Because of their small scale they articulate, or speak,

with difficulty. This characteristic causes them to be unsuitable

for rapid passages, so often found in contrapuntal music. The

Strings were not fully developed as organ stops until the 19th

century. Because the design of the RODGERS CLASSIC SERIES 200/205

harkens back to the baroque era, stops from the Gemshorn family

have been selected for your specification. The Gemshorn has

somewhat of a String as well as a horn-like tone, although not

as keen as a String. This delightfully blending sound is ideal

for accompaniment and complementary to all other stops on the

organ. You will find this useful stop on both Manual I and

Manual II on the RODGERS CLASSIC SERIES 200/205.

The basic Gemshorn tone is augmented with a Celeste rank on your

organ. The Gemshorn Celeste rank is another Gemshorn tone derived

from independent pitch sources purposely tuned slightly sharp.

When the two pitch sources are played together, a pleasant undulation

results (like a slow tremolo). Creating a tremolo in this manner

was already known in Italy in the 16th century and is found in

Germany at the beginning of the 18th century.

-4-


The Reed Family

The Reed family is the most colorful of all the organ families,

and is subdivided into three divisions: Chorus Reeds, Semichorus

Reeds, and Solo Reeds. Chorus reeds belong primarily to the

trumpet family: Posaune, Fagot, Trompette, and Clairon are in this

category. Although their names suggest orchestral tones, they

differ in quality considerably. They are purely organ voices

and are used to add power and vigor to the Chorus.

Semichorus reeds come largely from the baroque period. Dulzian

and Krurnrnhorn are typical examples. The term "semichorus" is

used because these stops may function as chorus reeds or solo

stops.

The Solo reeds, such as English Horn, Clarinet, or Oboe are

imitative of their orchestral counterparts and are used largely

as solo stops.

The chart on the following page shows the RODGERS CLASSIC SERIES

200/205 stop list.

-5-

Principals

Flutes

Gems horn (Strings)

Reeds

Couplers


Manual I

8 I Prestant 4 I Octave 2 I Fifteenth

Mixture III-IV Cyrnbel I

8 I Gedacktflote 8 I Stillgedackt 8 I Flute Celeste II 4 I Gedacktflote 2 I Blockflote

1-1/3 I Quint

8 I Gems horn

16 1 Dulzian 8 I Krummhorn

Manual II to Manual Manual I to Pedal

Special Controls

• Stops Enclosed Tremulant

Manual II

4 I Principal 2 I Octave 11 Sifflet

Scharf II- III

8 I Gedacktflote 8 I Rohrgedackt 4 I Nachthorn

2-2/3 1 Nasat 21 Waldflote

1-3/5 1 Terz

8 I Gems horn 8 I Gem shorn Celeste

16 I Fagot 8 I Trornpette

I

-6-

Pedal

8 I Principal 4 I Choralbass

Mixture IV

16 1 Subbass 16 I Lieblich

Gedackt 8 I Gedackt 4 I Gedacktflote 2 I Blockflote

16 I Posaune 4 I Clairon

SPECIAL FEATURES

There are two couplers on the RODGERS CLASSIC SERIES 200/205:

MANUAL II TO MANUAL I and MANUAL I TO PEDAL.

The function of a coupler is to enable the stops of one division

or keyboard to be played on another keyboard or pedalboard.

The MANUAL II TO MANUAL I coupler allows all the Manual II voices

to be played from the Manual I keyboard. The MANUAL I TO PEDAL

coupler will make the voices of this keyboard sound when a pedal

is depressed.

As can be seen, the coupler greatly increases the flexibility of

the instrument.

If both hands are busy and you desire to add MANUAL I ~0 PEDAL,

pushing the toe stud with your foot will do this. Pushing the

toe stud again or pushing the drawknob in will take MANUAL I TO

PKCAL off.

Combination Action

One of the exciting features of the RODGERS CLASSIC SERIES 200/205

is a combination action that is adjustable from the console. This

enables the organist to select favorite registrations and to make

rapid changes of tone color.

DUAL MEMORY COMBINATION ACTION

The RODGERS CLASSIC SERIES 200/205 combination action is a unique

DUAL MEMORY SYSTEM. This gives the organist a total of sixteen

General pistons for the Manual I, Manual II, and Pedal Divisions.

-7-


There is a combination lock for each Memory (1 and 2) with

different keys for each lock, giving protection to the individual

keyholders. With the keylock in the "Off" position, or with the

keys removed, the combination action will function but cannot be

set with new combinations.

NOTE: If both keys are in the "On" position, the combination

action will not program any new combinations. Also, when

one key is in the "On" position it is impossible to switch

to the other Memory.

How to set the Pistons:

1. Select the Memory (1 or 2) to receive the registrations.

2. Turn on the keylock for the selected Memory. (You will note that the lighted piston will indicate which keylock has been turned on.)

3. Select your registration. ·

4. Push the Set piston and hold.

5. While pushing the Set piston, push the desired piston, then release both pistons simultaneously.

Flute Chiff

CHIFF is a natural speech characteristic of classically voiced

Flutes. It gives additional clarity to both pitch and attack;

therefore, it is an integral part of the electronic voices.

Tremulant

Regarded as a special effect, the TREMULANT can be most useful

when judiciously used. The Tremulant on the RODGERS CLASSIC

SERIES 200/205 affects all of the electronic voices only.

-8-


Expression Pedal

The RODGERS CLASSIC SERIES 200/205 has an Expression Pedal

which controls the overall volume or loudness of the electronic

voices of the organ. It is used to give variety of expression

to the music played. Pressing the pedal forward increases the

volume. Drawing back on the pedal decreases the volume. Please

note that this pedal will not function unless the " • Stops Enclosed"

drawknob is pulled. Early organs did not have swell boxes so a

change in dynamics was accomplished by adding or subtracting stops

or changing manuals. You have your choice of playing the RODGERS

CLASSIC SERIES 200/205 with or without expression.

• Stops Enclosed

Pulling this drawknob causes the electronic voices (indicated

by a • on the drawknob) to be under expression, which is controlled

by the Expression Pedal.

Tuning Control

One of the beauties of a pipe organ is its ability to be tuned

properly. As you know, flue pipes change their tuning depending

on the temperature and density of the air in the room in which the

organ is located. Because our electronic circuits are so stable

it may be necessary to tune the electronics to the pipes. This is

very easily done by moving the Tuning Control until the beats (or

out-of-tuneness) stop. If the control knob is pulled out, the

electronic portion of the organ immediately returns to A440

(concert pitch).

Stop Lamps Control

The intensity of the stop lamps can be governed by this knob. Turn

the knob clockwise for brighter and counter~clockwise for dimmer

-9-


lights.

Organ Case

While the wood case surrounding the pipes is very beautiful, it

has other value too. It serves functionally to protect the pipes

and wind chest, and musically to blend the sound, to lend its own

resonance to the organ, and to project the sound of the organ to

the listener. The use of an organ case for these purposes dates

back to before the 15th century.

Completely Solid-State

Each note of every set of electronic voices in the Rodgers organ

is produced separately by an individual, solid-state voice generat

ing network. This independence of voices is largely responsible

for the wide acceptance of Rodgers' tone quality. In addition,

stop switching, coupling, and keying are all accomplished through

the use of solid-state switches which eliminate hundreds of contacts

and moving parts.

The amplifiers for the Rodgers speakers are located in the console

and there is no warm-up time required for them.

CARE AND MAINTENANCE OF THE RODGERS CLASSIC SERIES 200/205

As with any fine musical instrument, reasonable care is necessary

to protect your investment in your Rodgers organ. Normally, you

should experience no difficulties, because it has been carefully

designed, and only the finest component 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 service problems which may

arise.

-10-


Your new Rodgers organ is not only a fine musical instrument,

but also a fine piece of custom made furniture, finished to hold

its attractiveness through generations of use. Only the best

woods are used, carefully checked for uniformity of grain and

intensity of figure and carefully hand assembled. As each finish

coat is applied, it is thoroughly dried and hand rubbed before the

next coat is applied. This hand rubbing results in a finish that

is lasting and easy to keep beautiful. Following are a few tips

on caring for your Rodgers organ.

Console and Pedalboard

A frequent dusting with a soft, clean cloth is usually all that

is required. For a lacquered finish, a small amount of Guardsman's

Polish on the cloth will keep the organ smudge-free and help remove

fingerprints. Waxes, oils, or silicone base polishes should not

be used. Always wipe the surfaces WITH THE GRAIN, using straight,

even strokes.

Keyboards and Drawknobs

Keyboards and drawknobs should be cleaned with a soft cloth

dampened with water and mild soap if desirable. Care should be

exercised to avoid water dripping between the keys. DO NOT USE

SOLVENTS (alcohol, gasoline, carbon tetrachloride, etc.).

Since extreme cold, heat, or exposure to sunlight may injure

the finish of any fine piece of furniture, the console should not

be placed over a heat register or near an open window.

Pipes

To keep the pipes of your Rodgers organ beautiful, refrain from

touching them with ungloved hands.

-11-


RODGERS FIVE-YEAR LIMITED WARRANTY

The Rodgers Organ Company warrants every part of your Rodgers

console against ~efective materials or workmanship for a peri6d

of five years beginning on the date of purchase. IT IS IMPORTANT

THAT YOU COMPLETE THE WARRANTY REGISTRATION CARD ATTACHED TO THIS

MANUAL AND RETURN IT TO US TO VALIDATE YOUR WARRANTY.

Rodgers' Limited Warranty provides any needed replacement parts

during its five~year term. Labor, in connection with the replace

ment of parts, . is not covered by the factory warranty. Contact

your authorized Rodgers dealer for details of his labor warranty.

Complete factory warranty terms are spelled out in the Rodgers

Limited Warranty c~rtificate available at your Rodgers dealer

or mailed to you upon receipt of your Warranty Registration Card.

REGISTRATION SUGGESTIONS

The following pages of registrations are guidelines ~or selecting

appropriate stops to match broad suggestions given in most printed

organ literature. There will be variances of registration, depend

ing upon the music, acoustics of the room, and the spirit of the

performance.

-12 ~

Manual I Registration Suggestions


Given Suggestions

Flute

Strings

Reed (Solo)

Reeds (Chorus)

Foundations p

Foundations mf

Foundations f .

Foundations ff

Full Great

Appropriate Registration

8 I Gedacktflote 8 I Gemshorn 8 I Krummhorn 8 I Krummhorn

16 I Dulzian 8 I Stillgedackt 8 I Gems horn 8 I Gedacktflote 8 I Gems horn 4 I Gedacktflote

8 I Prestant 8 I Gedacktflote 4 I Octave 41 Gedacktflote 8 I Prestant 81 Gedacktflote 4 I Octave 4 I Gedacktflote 21 Fifteenth 8 I Prestant 8 I Gedacktflote 4 I Octave 4 I Gedacktflote 2 I Fifteenth 21 Blockflote

Mixture III-IV

-13-

Manual II Registration Suggestions


Given Suggestions

Flutes

Strings

Reed (Solo)

Reeds (Chorus)

Foundations p

Foundations mf

Foundations f

Full Positive


8 I Gedacktflote 4 I Nachthorn 8 I Gems horn 8 I Gemshorn Celeste

8 I Trompette

16 1 Fagot 8 I Trompette 81 Gem shorn 8 I Rohrgedackt 8 I Gems horn 8 I Rohrgedackt 4 I Nachthorn 8 I Gedacktflote 8 I Gems horn 4 I Principal 4 I Nachthorn 2 I Waldflote 81 Gedacktflote 4 I Principal 41 Nachthorn . 2 I Octave 2 I Waldflote 11 Sifflet 8 I Trompette

-14-

Pedal Organ Registration Suggestions


Given Suggestions

Flutes

Pedal Principals

Foundations p

Foundations mf

Full Pedal


16 1 Subbass 81 Gedackt

16 I Subbass 81 Principal

16 1 Lieblich Gedackt

16 I Subbass 8 I Principal 81 Gedackt 4 I Choralbass

16 1 Subbass 81 Principal 81 Gedackt 4 I Choralbass 21 Blockflote

Mixture IV 16 I Posaune

-15-


SUGGESTED MEMORY SETTINGS

On the following pages are complete, suggested piston settings

for the RODGERS CLASSIC SERIES 200/205. These are arranged in

ascending order from soft combinations (Generals 1 and 2) to

larger ensemble combinations of increasing strength. These are

only suggestions as to a system of setting pistons that follow

the basic music crescendo.

-16-


Memory I

Generals

Piston 1 Pedal:

Manual II:

General:

Manual I:

Piston 2 Pedal:

Manual· II:

General:

Manual I:

Piston 3 Pedal:

Manu.:tl -II:

General:

Manual I:

Piston 4 Pedal:

Manual II:

-17-

16 I Lieblich Gedackt 8 I Gedackt 8 I Gem shorn 8 I Gensho:tn Celeste

• Stops Enclosed

81 Flute Celeste II

16 1 Lieblich Gedackt 8 .1 Gedackt

8 1 Gemshorn 8 1 Gemshorn Celeste 4 1 Nachthorn

• Stops Enclosed Manual I to Pedal Manual II to Manual I

8 1 Flute Celeste II 8 1 Gemshorn

16 1 Lieblich Gedackt 8 1 Gedackt 4 1 Gedacktflote

16 1 Subbass

8' Gemshorn 8 1 Gemshorn Celeste 4' Nachthorn 8' Rohrgedackt

• Stops Enclosed

8 1 Gedacktflote 8 1 Flute · Celeste II 8 1 Stillgedackt 8' Gemshorn

16' Lieblich Gedackt 8 1 Gedackt 4 1 Gedacktflote

16 1 Subbas·s 8' . Principal 4' Choralbass

8 I Gems horn 8 I Gemshorn Celeste 8' Gedacktflote 4' Nachthorn 8 I Rohrgedackt

Piston 4 (Con't.)

General:

Manual I:

Piston 5 Pedal:

Manual II:

General:

Manual I:

Piston 6 Pedal:

Manual II:

General:

Manual I:

-18-

Manual I to Pedal

8' Gedacktflote 8' Flute Celeste II 8' Stillgedackt 4' Gedacktflote 8' Gemshorn

16' Lieblich Gedackt 8' Gedackt 4' Gedacktflote

16' Subbass 8' Principal 4' Choralbass

8' Gemshorn 8' Gemshorn Celeste 8' Gedacktflote 4' Nachthorn 2' Waldflote

Manual I to Pedal

8' Gedacktflote 8' Flute Celeste II 2' Blockflote 8' Stillgedackt 4' Gedacktflote 8' Prestant 8' Gemshorn 4' Octave

16' Lieblich Gedackt 8' Gedackt 4' Gedacktflote

16' Subbass 8' Principal 4' Choralbass

8' Gemshorn 4' Principal 8' Gedacktflote 4' Nachthorn 2' Waldflote 8' Rohrgedackt

Manual I to Pedal

8' Gedacktflote · 2' Blockflote 8' Stillgedackt 4' Gedacktflote 8' Prestant 8' Gemshorn 4' Octave 2' Fifteenth

Piston 7 Pedal: 16 1 Lieblich Gedackt 8 I Gedackt 4 I Gedacktflote

16 I Subbass 8 I Principal 4 I Choralbass

Mixture IV

Manual II: 8 I Gems horn 4 I Principal 2 I Octave

Scharf II-III 8 I Gedacktflote 41 Nachthorn 2 I Waldflote 8 I Rohrgedackt

General: Manual I to Pedal Manual II to Manual I

Piston 8 Pedal: 16 I Lieblich Gedackt 8 I Gedackt 41 Gedacktflote 2 I Blockflote 4 I Clairon

16 1 Subbass 8 I Principal 4 I Choralbass

Mixture IV 16 1 Posaune

Manual II: 8 I Gem shorn 4 I Principal 2 I Octave 11 Sifflet 81 Gedacktflote 4 I Nachthorn

16 I Fagot 81 Rohrgedackt 8 I Trompette

General: Manual I to Pedal Manual II to Manual I

Manual I: 81 Gedacktflote 2 I Blockflote 8 I Stillgedackt 4 I Gedacktflote

Cymbel I 8 I Prestant 8 I Gemshorn 4 I Octave 2 I Fifteenth

Mixture III-IV

-19-

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-20-

COUPLERS

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TON/OFF

NG CONTROL

DIMMER

CANCEL PISTON

DAL TOE STUD

HEN •STOPS

Documents

OWNER'S MANUAL RODGERS CLASSIC SERIES 200/205