55. - Rodgers Instruments
 R OD GE R S
INSTRUMENT
CORPORATION
350
330
055
Owner's Manual
HK
RODGERS
INSTRUMENT CORPORATION
The sound choice!
RISK OF ELECTRIC SHOCK
DO NOT OPEN
ATTENTION: RISQUE DE CHOC ELECTRIQUE NE PAS OUVRIR
WARNING: PATENTS
TO REDUCE THE RISK OF G.B. 1312161
FIRE OR ELECTRIC F.R.G. 2202 658
SHOCK, DO NOT EXPOSE CANADIAN 951550
THIS APPLIANCE TO RAIN (1974)
OR MOISTURE.
CAUTION: TO REDUCE THE RISK OF
ELECTRICAL SHOCK:
DO NOT REMOVE COVER OR BACK.
NO USER-SERVICEABLE PARTS INSIDE.
REFER SERVICING TO QUALIFIED
SERVICE PERSONNEL.
EERE EE EERE BE ER REE ERE EERE EE
The lightning flash with arrowhead symbol, within
an equilateral triangle, is intended to alert the user
to the presence of uninsulated "dangerous voltage"
within the product's enclosure that may be of
sufficient magnitude to constitute a risk of electrical
shock to persons.
The exclamation point within the equilateral triangle
is intended to alert the user to the presence of
important operating and maintenance (servicing)
instructions in the literature accompanying the
product.
NOTICE TO USERS
Information in this document is subject to change without notice. No
part of this manual may be translated into any language, stored in a
retrieval system, reproduced or transmitted in any form or by any
means, electronic or mechanical, including photocopying and recording,
for any purpose without the express written permission of Rodgers
Instrument Corporation.
RODGERS INSTRUMENT CORPORATION
1300 N.E. 25TH AVENUE
HILLSBORO, OREGON 97124
(503) 648-4181
RODGERS CANADA
5480 Parkwood Way
Richmond, B.C. V6V 2M4
(604) 270-6332
O Copyright 1992, Rodgers Instrument Corporation, a member of the Roland Group. All rights reserved. Printed in the United States of America.
Rodgers® Classic Organs™ , Rodgers® Classic Keyboards™ and Rodgers® DVM™ (Digital Voice Module) are trademarks of
Rodgers Instrument Corporation,
ЖЕНЕ Зы E Ea Tat RENE
ect
SAFETY INSTRUCTIONS
SEE _— _— — — — — — — — — — — — —_ — _ _ — —_ _— — — — _—_— — —_—_—_—_—_—_——————
INSTRUCTIONS PERTAINING TO A RISK OF FIRE,
ELECTRIC SHOCK OR INJURY TO PERSONS
IMPORTANT SAFETY INSTRUCTIONS
Read all the instructions before using, adjusting or
repairing this instrument.
To reduce the risk of injury, supervise children closely
when they are around the instrument.
Use this instrument only in the manner recommended
by Rodgers Instrument Corporation.
Do not use this instrument near water, for example,
near a swimming pool or a damp/wet room.
Use of this instrument, either alone or in combination
with an amplifier and headphones or speakers, may be
capable of producing sound levels that could cause
permanent hearing loss. DO NOT operate for a long
period of time at a high volume level or at a level that is
uncomfortable. If you experience any hearing loss or
ringing in the ears, you should consult an audiologist.
Locate the instrument so its position does not interfere
with its proper ventilation.
Locate the instrument away from heat sources such as
radiators, heat registers or other products that radiate
heat directly onto the instrument.
Protect the instrument from dust as much as possible.
Connect the instrument to a power source only of the
type described in the operating instructions or as
marked on the instrument. Do NOT attempt to defeat
the grounding connection of the three-prong
attachment plug. This is a safety feature. If you are
unable to insert the plug into the outlet, contact an
electrician to replace your obsolete outlet. Do NOT
defeat the safety purpose of the plug.
10.
11.
12.
13.
14.
15.
16.
WARNING: When using this instrument, always follow basic precautions, including the following:
Unplug the power cord of the instrument from the
power source when left unattended for a long period of
time.
Do not walk on or place objects on top of the power
cord.
Do not pull the cord to unplug. Hold the plug when
unplugging from the power source.
When setting up with other instruments or peripherals,
follow the procedures in accordance with Rodgers"
owner's manual.
Take care that objects do not fall or liquids spill into the
instrument.
Service the instrument with qualified service personnel
when:
a. The power cord or plug has been damaged.
b. Objects have fallen or liquid has spilled into the
instrument.
с. The instrument has been exposed to rain or other
weather damage.
d. The instrument does not appear to operate
normally or exhibits a marked change in
performance.
e. The instrument has been dropped or the
enclosure has been damaged.
Do not attempt to service the instrument beyond that
described in the owner's manual. Refer all other
servicing to qualified technical service personnel.
WARNING: THIS INSTRUMENT MUST BE EARTH GROUNDED.
You must GROUND instruments equipped with a TYPE AC, 3 WIRE GROUND PLUG.
SAVE THESE INSTRUCTIONS
| FCC Notice
Radio and Television Interference
The Rodgers Classic Keyboard uses and generates small amounts of radio-
frequency (RF) energy. The instrument complies with the limits set for Class B
digital devices. FCC Rules, Part 15, Subpart B define the limits for radio and
television interference in a residential installation.
Follow the installation and the use instructions in this manual, or the instrument
could potentially cause interference with some radio or television reception. In
the unlikely event this occurs, we encourage the user to try the following
corrective measures:
/
ii
Turn the instrument OFF to see if it is the actual source of the
interference.
Disconnect the peripheral devices and their input/output
cables one at a time. If the interference stops, it is caused by
the peripheral device or its I/O cable.
Try coiling and uncoiling the instrument's power cord in
different ways.
Connect the instrument's power cord to a power outlet on a
different circuit.
Move the instrument farther away from the radio or television
receiver.
Turn the radio or television receiver until the interference
stops.
Connect the radio or television receiver to a different power
circuit.
Reorient or move the receiver antenna farther away from the
instrument. Consider installing a rooftop antenna with coaxial
cable lead-in between the antenna and receiver.
Consult the nearest Rodgers Classic Keyboards dealer for more
information if the above corrective measures don't remove the
interference.
AN
Table of Contents
CAUTIONS and Notice to Users
Safety Instructions
FCC Notice
Table of Contents
Overview of the 550, 580 and 685
Brief Tour
Turn On/Turn Off
Divisions
Selecting or Retiring a Stop
Combination Action
Couplers
Tremulants
Expression Pedal (550)
Expression Pedal (550 and 685)
Great/Pedal Unenclosed (550)
Great to Swell Expression Coupler (580 and 685)
Bass Coupler
Melody Coupler
Tuning Knob
Transposer Knob
User I/O Panel
MIDI IN/QUT/THRU
Auxillary Inputs (Left and Right)
Auxillary Input Level
Auxillary Outputs (Left and Right)
Reverb Level
Headphone Volume and Jack
inside cover
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MIDI (Musical Instrument Digital Interface) page 10
Sending a Program Change page 10
Velocity Information page 10
Channel Reassignment page 11
Octave Transpose page 11
Enabling/Disabling MIDI Master Channels page 11
Saving a Combination Memory page 13
Receiving a Program Change page 13
Local On/Off page 14
Returning to Default Settings page 14
Common MIDI Connections page 15
550 Specifications page 16
580 and 685 Specifications page 17
Suggested Registrations page 18
Care and Maintenance page 31
MIDI Implementation page 32
N J
iv
OVERVIEW OF THE 550, 580 and 685
Thank you for choosing the Rodgers 550, 580 or 685. These instruments are high quality
church organs in both sound and construction, designed to provide years of reliable service.
These instruments are two-manual classical organs thatincorporate an eclectic specification
and authentic pipe organ sounds. In addition to a built-in two-channel stereo audio system, the
550 and 580 have provisions for additional amplification and speakers. The 685 has a four-
channel (stereo x 2) audio system with external speakers.
The 550, 580 and 685 utilize lighted tilttab stop controls. Traditional couplers are included,
as well as an adjustable combination action (pistons) with two memories.
These instruments are completely voiced and tuned for optimum tonal authenticity. A
Rodgers factory-trained technician can provide additional voicing and finishing as required.
The 550, 580 and 685 offer full MIDI (Musical Instrument Digital Interface) capability,
allowing the organist to control other MIDI devices (keyboards, sequencers, rhythm units,
sound modules, etc.). MIDI allows the performer full recording and playback capabilities.
Rodgers organs are built in Hillsboro, Oregon, USA. Through the most advanced
technology available, the Rodgers Instrument Corporation, a member of the Roland Group,
delivers proven reliability, design innovation and a tradition of musical excellence, marking
our position as
The Sound Choice!
BRIEF TOUR
To get started, here is a brief tour of the basic operations of Rodgers 550, 580 and 685:
TURN ON/TURN OFF
To turn the organ on, press the power rocker switch at the top (1). In approximately 5 seconds, the
the SET and GENERAL CANCEL pistons will light, indicating the power is on and the organ is ready
to play. To turn the power off, press the power rocker switch at the bottom (0). The power to the organ
is off.
DIVISIONS
The following groupings of stops (tilt tabs) affect the indicated manuals (keyboards)
or pedalboard:
COUPLERS []
SWELL
GREAT
PEDAL
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WELL EXPRESSION
GT. & PEDAL > cal
EXPRESSION — (580/685)
(580/685)
(Or General
Expression-550) (685 ONLY)
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PEDAL
SELECTING OR RETIRING A STOP
Press the bottom of the desired tilt tab to turn it on. It will light, indicating it is on. Press the top of
the tilt tab to turn off the stop. The light will go off, indicating the stop is off.
2
— 535 IG
COMBINATION ACTION
(Pistons)
The 550, 580 and 685 feature a combination action easily changed by the organist from the
console. The organist can pre-select favorite registrations and make rapid changes in tone color
using this advanced system. The pistons will light when pressed.
The 550 combination action includes five general pistons, a SET piston and a GENERAL CANCEL
piston. The 580 and 685 combination action includes ten general pistons, a SET piston and a
GENERAL CANCEL piston. All three instruments include a dual memory combination action
(M2). The 685 also includes ten toe studs which duplicate the ten general pistons.
GENERAL PISTONS 1-5
(ALL INSTRUMENTS)
GENERAL PISTONS
1-5 (TOE STUDS)
pe ONLY)
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(580/685)
GENERAL PISTONS
6-10 (TOE STUDS)
(685 ONLY)
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GENERAL PISTONS 6-10 CANCEL
2 HOW TO SET THE PISTONS:
1. Select the stops desired.
2. Push the SET piston and hold.
3. While holding the SET piston, push the desired piston, and then release both
pistons simultaneously.
(Note: Selecting M2 before steps 1-3 will activate a second MEMO, thereby doubling the
number of combinations available.)
LI EAT
COUPLERS
2» Couplers enable stops of one division to be played on
another keyboard or pedalboard. The couplers on the "C" series organs are
GREAT TO PEDAL, SWELL TO PEDAL and SWELL TO GREAT.
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Great manual
Keys played
and heard.
TREMULANTS
Tremulants create changes in pitch (sharp and flat) or amplitude (volume). The use of tremulants
adds warmth to solo or small ensemble combinations and is useful in gospel and romantic music.
The 550, 580 and 685 have a MAIN TREMULANT that affects all manual voices. The SWELL
FLUTE TREMULANT FULL affects all the flute voices on the Swell manual. It is a deeper and
faster tremulant than the other tremulant. Each independent tremulant is adjustable for both speed
and depth. It is recommended that these adjustments be made by Authorized Personnel Only.
EXPRESSION PEDAL
(550)
This pedal controls the overall volume of the entire organ. This pedal is used to give variety of
expression to the music played. Pressing the pedal forward increases the volume; drawing back
decreases the volume.
EXPRESSION PEDALS
(580 AND 685)
The pedal on the right controls the overall volume of the Swell division. The pedal on the left
controls the overall volume of the 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.
GREAT/PEDAL UNENCLOSED
(550)
Many traditional pipe organs are tonally designed with the Great and Pedal divisions
non-expressive. The Great and Pedal divisions are normally expressed with the expression pedal. If
a more traditional effect is desired by the organist, the Great/Pedal Unenclosed tilt tab allows the
Great and Pedal divisions to play at full volume, while the Swell remains under expression.
GREAT TO SWELL EXPRESSION COUPLER
(580 and 685)
The Great to Swell Expression Coupler allows the Great and Swell divisions to be expressed by
using the right expression pedal.
ERD
THE BASS COUPLER
This feature's name is derived from the ancient term "Basso Continuo," meaning thoroughbass.
When this tilt tab is pressed, it will light. Any stops or couplers on in the Pedal division will sound from
the lowest key being played on the Great manual. This provides a pedal bass without having to actually
play the pedalboard with the feet.
In its normal setting, the Bass Coupler affects keys 1 through 24 of the Great manual, but its range
is programmable.
2 HOW TO SET THE RANGE OF THE BASS COUPLER:
1. Hold SET and press the BASS tilt tab, which will start flashing.
2. Release the SET piston and BASS tilt tab.
3. While the BASS tilt tab is flashing, press a key which corresponds to
the highest note the range is to extend. Any note from key 1 to key
61 may be selected. Keys above 32 will play external MIDI devices but will
not play the Pedal stops. After the selected key has been pressed, the BASS
tilt tab will shut off. (Note: When key is pressed to set the range, no sound
will be heard even if stops are on, so no disturbance will be made if programming
during a performance.)
4. To use the new range, press the BASS tilt tab.
—;}——»
THE MELODY COUPLER
When the MELODY tilt tab is pressed, it will light. Any stop or coupler of the Swell division will
sound from the highest key being played on the Great manual. This allows a solo melody and an
accompaniment to be played from the same manual.
In its normal setting, the Melody Coupler affects keys 25 through 61 on the Great manual, but its
range is programmable.
2 HOW TO SET THE RANGE OF THE MELODY COUPLER:
1. Hold SET and press the MELODY tilt tab, which starts flashing.
2. Release the SET piston and MELODY tilt tab.
3. While the MELODY tilt tab is flashing, press a key which corresponds to
the lowest note the range is to extend. Any note from key 1 to key 61 may be
selected. After the selected key has been pressed, the MELODY tilt tab will
stop flashing.
TUNING KNOB
The 550, 580 and 685 are equipped with a TUNING knob. This allows the entire organ to be
tuned easily and quickly to a piano or musical instrument not at standard concert pitch (A 440). If
the TUNING knob is pushed in, the organ will remain at standard concert pitch, and turning the
knob will have no effect. To alter the pitch, pull the TUNING knob out until it clicks, then turn the
knob to set the pitch.
TRANSPOSER KNOB
Turning the TRANSPOSER knob will raise or lower the pitch of the organ up to four semitones
(half steps). Many singers need a key change to accommodate their voice range. The
TRANSPOSER is especially useful for accompanying soloists, eliminating the need to mentally
transpose music on a printed sheet into a more suitable key. The TRANSPOSER helps the organist
accomplish this effortlessly.
a USER I/O PANEL æ
The Rodgers User I/O Panel allows the organist to conveniently make adjustments to the
headphone volume level and reverb level and to make audio input and output connections from the
front of the organ. This panel is located under the keydesk on the left side. The following
descriptions detail the controls and their functions.
MIDI IN/OUT/THRU
These are the jacks used to connect to the Rodgers organ to an external sequencer, voice
module, computer or other external MIDI device or instrument.
AUXILLARY INPUTS (Left and Right)
These are auxillary audio inputs allowing the organist to connect the audio outputs of a MIDI
voice module, cassette player, compact disc player or other audio devices to the organ. This allows
the sound of the audio device to be heard through the organ speakers.
AUXILLARY INPUT LEVEL
This control allows you to increase or decrease the volume level of the external audio device
connected to the Auxillary Audio Inputs. This is factory set and rarely has to be changed, but is
provided should the volume level of the external device need adjustment.
AUXILLARY OUTPUTS (Left and Right)
These Auxillary Audio Outputs may be connected to the audio inputs of an external audio mixer,
amplifier, cassette recorder, DAT recorder or other external audio device of this type.
REVERB LEVEL
This control adjusts the amount of digital reverberation affecting the organ voices.
HEADPHONE VOLUME AND JACK
The volume level of the headphone set is adjusted by this control.
The 550, 580 and 685 have a Headphone Jack. When a set of headphones is plugged into the
jack, the speaker system shuts off, allowing the organist privacy when playing. It is recommended
that you use stereo headphones with an impedance of not less than 8 ohms (2). The Headphone
Jack is designed to run only ONE set of headphones at a time.
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MIDI (Musical Instrument Digital Interface)
The Rodgers 550, 580 and 685 possess some of the most advanced MIDI capabilities in the
world. MIDI voices are activated via three MIDI coupler tilt tabs. The MIDI channels these coupler
tilt tabs control are:
Great Channel 1* MIDI ON GREAT
Swell Channel 2 MIDI ON SWELL
Pedal Channel 3 MIDI ON PEDAL
* May be changed to any of the sixteen MIDI channels.
To change this channel, see "Channel Reassignment.”
SENDING A PROGRAM CHANGE
1. Hold SET and press the bottom of a MIDI coupler tilt tab. The tilt tab will flash,
indicating the MIDI Set Mode is active. Release SET and the MIDI coupler.
2. Choose the desired Program Change (sound), and press the corresponding key (see the
Program Change chart).
If SET is held while pressing a key to send a Program Change, the Program Change will be sent,
but the MIDI Set Mode will be "locked on." Once this happens, further Program Changes may
be sent by holding SET and pressing a corresponding key. This allows the organist to try several
sound selections until the appropriate one is found. The MIDI Set Mode will remain active until
the flashing MIDI coupler or General Cancel 1s pressed.
Once a Program Change has been sent on a MIDI coupler, that same Program Change will be
sent each time the tilt tab is activated. The Program Change will also be saved on any combination
piston including that MIDI coupler.
VELOCITY INFORMATION
As a default, the Great and Swell MIDI channels send detected velocity messages. The harder a
key is played, the louder the MIDI sound will be. The Pedal always sends a fixed velocity.
It is possible to have the Great or Swell MIDI coupler send a fixed velocity message. To change
the Great or Swell MIDI coupler from detected velocity to fixed velocity:
1. Hold SET and press the MIDI coupler to be changed. The coupler will flash. Release
SET and the MIDI coupler.
2. Press the sustain switch (located to the left of the Great expression pedal) to the left. The
coupler will stop flashing.
10
To change the coupler back to detected velocity, repeat steps 1 and 2'under "Velocity
Information." The velocity status of the Great and Swell MIDI couplers will be stored in the
combination action of the organ.
CHANNEL REASSIGNMENT
All MIDI couplers transmit on fixed channels except MIDI ON GREAT. To reset the transmit
channel for this coupler only:
1. Hold SET and press the bottom of MIDI ON GT. It will flash. Release SET and MIDI
ON GT.
2. Hold piston 1, and press any key on the Great manual between low C and tenor D# to
signify the desired MIDI channel. Low C is Channel 1, low C# is Channel 2, etc. The
MIDI ON GT coupler will stop flashing.
The new Great MIDI Channel assignment will be stored in the combination action of the organ.
OCTAVE TRANSPOSE
Normally, all MIDI couplers play at standard pitch (middle C = note 60). The Octave Transpose
parameter may be reset to cause any MIDI coupler to play one octave above or below standard pitch.
1. Hold SET and press the bottom of the desired MIDI coupler. It will flash. Release SET
and the MIDI coupler.
2. To transpose up one octave, turn the TRANSPOSER knob to +1, +2, +3 or +4.
3. To transpose down one octave, turn the TRANSPOSER knob to -1, -2, -3 or -4.
4. Exit this mode by pressing General Cancel.
5. Return the TRANSPOSER to the desired setting.
The Octave Transpose status of each MIDI coupler will be stored in the combination action of
the organ.
ENABLING/DISABLING MIDI MASTER CHANNELS
The following MIDI channels are used to control the organ through MIDI:
Great Master Channel 12
Swell Master Channel 13
Pedal Master Channel 14
The organ sends and receives MIDI information on these channels unless they are disabled.
11
It is possible to stop the transmission or reception of MIDI information on these Master
Channels.
To disable reception of information on a MIDI Master Channel:
1. Hold SET and press the bottom of the MIDI coupler corresponding to the channel to be
disabled. It will flash. Release SET and the MIDI coupler.
2. While the coupler is flashing, press the top of the MIDI coupler (as if turning off). It will
stop flashing.
To enable reception of information on a MIDI Master Channel:
1. Hold SET and press the bottom of the MIDI coupler corresponding to the channel to be
enabled. It will flash. Release SET and the MIDI coupler.
2. While the coupler is flashing, press the bottom of the MIDI coupler (as if turning on). It
will stop flashing.
When transmission on all MIDI Master Channels is inhibited, then no stop change (MIDI System
Exclusive stop change) is transmitted.
To disable transmission of information on a MIDI Master Channel:
1. Hold SET and press the MIDI coupler corresponding to the MIDI Master Channel to
disable. It will flash. Release the MIDI coupler.
2. While the coupler is flashing, hold SET and press the top of the MIDI coupler (as if
turning off). It will stop flashing.
To enable transmission of information on a MIDI Master Channel:
1. Hold SET and press the bottom of the MIDI coupler corresponding to the MIDI Master
Channel to enable. It will flash. Release the MIDI coupler.
2. While the coupler is flashing, hold SET and press the bottom of the MIDI coupler (as if
turning on). It will stop flashing.
The send and receive status of all MIDI Master Channels will be saved in the combination action
of the 550, 580 and 685.
12
SAVING A COMBINATION MEMORY
The contents of any combination memory may be saved into a MIDI sequencer and later
reloaded into the organ. To save a memory:
1. The Master Clock on the sequencer must be ON.
2. Select the memory to be saved.
3. Hold SET. Start the sequencer, and wait for it to begin recording.
4. Release SET to begin the transmission of memory information. Each piston will light as it
is saved to the sequencer.
5. Stop the sequencer after all pistons have been saved.
To restore a memory from the sequencer:
1. Select the memory to be loaded into the 550, 580 or 685.
2. Hold SET and start the sequencer playback. Each piston will light as it receives memory
information.
3. Release SET after the final memory as been received.
RECEIVING A PROGRAM CHANGE
Registrations may be selected on the organ by sending a Program Change from another MIDI
device. The following is a list of Program Changes the 550, 580 and 685 will respond to on
Channel 12:
PROGRAM CHANGE WILL SELECT
piston 1
piston 2
piston 3
piston 4
piston 5
0 General Cancel
NV Un > Y ND —
13
LOCAL ON/OFF
The 550, 580 and 685 are equipped with a LOCAL ON/LOCAL OFF control. When the organ is
set to LOCAL ON, it operates normally.
When the organ is set to LOCAL OFF, none of the organ stops sound when keys or pedals are
pressed. MIDI information is, however, generated on activated MIDI Master Channels and MIDI
coupler channels. In addition, movement of the expression pedal generates MIDI volume
information on activated MIDI Master Channels and MIDI Coupler Channels but does not affect the
organ stop volume. An application for this is when sequencing, the volume of the organ may be
sequenced one way, and the volume of the MIDI voices another way.
MIDI information received on the MIDI Master Channels will still control the 550, 580 and 685
when the organ is set to LOCAL OFF.
To set the organ to LOCAL OFF:
1. Hold SET, and press any MIDI coupler. It will flash.
2. Hold SET, and press and release General Cancel. The General Cancel light will go off,
signifying LOCAL OFF is activated.
To set the organ to LOCAL ON:
1. Hold SET, and press any MIDI coupler. It will flash.
2. Hold SET, and press and release General Cancel. The General Cancel light will go on,
signifying LOCAL ON is activated.
The Local On/Off status can be saved in the combination action of the organ.
RETURNING TO DEFAULT SETTINGS
To return to the default settings for Send Channel, Detected/Fixed Velocity, Octave Transpose,
MIDI Master Send Channel, Primary Receive Channel and Local On/Off:
1. Hold SET.
2. Press General Cancel.
In addition, an All Notes Off message is generated to clear any problems with other MIDI
equipment, so this can be used as a "Panic Button" should any other MIDI devices get confused.
14
COMMON MIDI CONNECTIONS
Organ with Sound Module
Organ QUT IN Sound Module
Organ with Sequencer
Organ QUT IN Sequencer
IN OUT
Organ with Sound Module and Sequencer
OUT IN Sequencer
Organ Soft Thru ON
IN OUT
Sound Module
THRU IN
15
GREAT ORGAN
Principal 8'
Rohrflote 8'
Flauto Dolce 8'
Flute Celeste 8'
Octave 4'
Spitzflôte 4'
Super Octave 2"
Quintflôte 1 1/3'
Mixture IV
Cromorne 8'
Chimes
Swell to Great
SWELL ORGAN
Lieblich Bourdon 16'
Bourdon 8'
Viola 8'
Viola Celeste &'
Prestant 4'
Koppelflóte 4
Nazard 2 2/3'
Blockflöte 2'
Plein Jeu IV
Contre Basson 16'
Trompette 8'
Hautbois 8'
16
550 SPECIFICATIONS
PEDAL ORGAN
Principal 16
Subbass 16'
Octave 8'
Gedackt 8'
Choral Bass 4'
Fagott 16'
Great to Pedal
Swell to Pedal
GENERAL
Tremulant (Great and Swell)
Swell Flute Tremulant Full
Bass Coupler
Melody Coupler
Great/Pedal Unenclosed
MIDI on Pedal
MIDI on Swell
MIDI on Great
CONSOLE FEATURES
Transposer Knob
Tuning Knob
Headphone Jack
Headphone Volume
External Audio Jacks (L/R and IN/OUT)
Expression Pedal
5 General Pistons
Dual Memory
Set
General Cancel
Reverb with Level Control
MIDI In
MIDI Out
MIDI Thru
580 & 685 SPECIFICATIONS
GREAT ORGAN
Principal 8'
Rohrflôte 8'
Flauto Dolce 8'
Flute Celeste 8'
Octave 4'
Spitzflôte 4'
Super Octave 2'
Quintflôte 1 1/3"
Mixture IV
Cromorne 8'
Chimes
Swell to Great
ELL ORGA
Lieblich Bourdon 16'
Bourdon 8'
Viola 8'
Viola Celeste 8'
Prestant 4'
Koppelflóte 4'
Nazard 2 2/3'
Blockflöte 2'
Plein Jeu IV
Contre Basson 16'
Trompette 8'
Hautbois 8'
PEDAL ORGAN
Principal 16'
Subbass 16'
Octave 8'
Gedackt 8'
Choral Bass 4'
Fagott 16'
Great to Pedal
Swell to Pedal
GENERAL
Tremulant (Great and Swell)
Swell Flute Tremulant Full
Bass Coupler
Melody Coupler
Great to Swell Expression
MIDI on Pedal
MIDI on Swell
MIDI on Great
CONSOLE FEATURES
Transposer Knob
Tuning Knob
Headphone Jack
Headphone Volume
External Audio Jacks (L/R and IN/OUT)
Great/Pedal Expression
Swell Expression
10 General Pistons
10 Toe Pistons (duplicate of thumb pistons)
Dual Memory
Set
General Cancel
Reverb with Level Control
MIDI In
MIDI Out
MIDI Thru
17
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SUGGESTED
mc REGISTRATIONS
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 of registration, depending
upon the music, acoustics of the room, and the spirit of the performance.
Given Suggestions
FLUTE
SOFT FLUTE
FOUNDATIONS p
FOUNDATIONS mf
FOUNDATIONS f
FOUNDATIONS ff
FULL GREAT
18
GREAT ORGAN
Appropriate registrations
Rohrflôte &'
Flute Celeste &'
Rohrflôte 8'
Flute Dolce 8'
Spitzflôte 4'
Principal 8'
Spitzflóte 4'
Principal 8'
Rohrflôte 8'
Octave 4'
Spitzflôte 4
Principal 8'
Rohrflóte 8'
Octave 4
Spitzflóte 4'
Super Octave 2
Mixture IV
Principal 8'
Rohrflôte 8'
Octave 4'
Spitzflóte 4'
Super Octave 2'
Quintflôte 1 1/3'
Mixture IV
Cromorne 8'
Given Suggestions
STOPPED FLUTE
STRINGS
STRING ENSEMBLE
SOLO REED I mf
SOLO REED II mf
SOLO REED f
CORNET
FOUNDATIONS mf
FOUNDATIONS f
FOUNDATIONS ff
SWELL ORGAN
Appropriate Registrations
Bourdon &'
Viola 8'
Viola Celeste 8'
Bourdon 8'
Viola 8'
Viola Celeste 8
Koppelflôte 4
Tremulant
Hautbois 8'
Contre Basson 16' (play 8va)
Trompette 8'
Bourdon 8'
Koppelflôte 4
Nazard 2 2/3
Bourdon 8'
Viola 8'
Koppelflóte 4'
Bourdon 8'
Viola 8'
Prestant 4'
Koppelflote 4
Blockflöte 2'
Bourdon 8'
Viola 8'
Prestant 4'
Koppelflóte 4
Blockflöte 2'
Plein Jeu IV
19
FULL SWELL
Given Suggestions
SOFT BASS
FLUTES
FOUNDATIONS mf
FOUNDATIONS f
FOUNDATIONS ff
FULL PEDAL
20
Bourdon 8'
Viola 8'
Prestant 4'
Koppelflóte 4'
Blockflöte 2'
Plein Jeu IV
Contre Basson 16'
Trompette 8'
Hautbois 8"
PEDAL ORGAN
Appropriate Registrations
Subbass 16'
Subbass 16"
Gedackt 8'
Principal 16'
Gedackt 8'
Subbass 16'
Octave 8'
Gedackt 8'
Choralbass 4'
Principal 16'
Subbass 16'
Octave 8'
Gedackt 8'
Choralbass 4'
Principal 16'
Subbass 16'
Octave 8'
Gedackt 8'
Choralbass 4'
Fagott 16'
SOFT PRAYER HYMN
STRING CHORUS
FULL STRING CHORUS
Great:
Swell:
Pedal:
Couplers:
Great:
Swell:
Pedal:
Couplers:
Great:
Swell:
Pedal:
Couplers:
ENSEMBLE COMBINATIONS
Flute Celeste 8'
Tremulant (optional)
Viola 8'
Viola Celeste 8'
Subbass 16'
Swell to Pedal
Swell to Great
Principal 8'
Flute Celeste 8'
Tremulant (optional)
Viola 8'
Viola Celeste 8'
Koppelflote 4'
Subbass 16
Swell to Pedal
Swell to Great
Rohrflóte 8'
Flute Celeste 8'
Spitzflóte 4'
Tremulant (optional)
Bourdon 8'
Viola 8
Viola Celeste 8'
Prestant 4'
Koppelflôte 4"
Tremulant
Subbass 16'
Swell to Pedal
Swell to Great
21
SOFT FOUNDATIONS
FOUNDATIONS 8' mf
FOUNDATIONS $8' and 4
22
Great:
Swell:
Pedal:
Couplers:
Great:
Swell:
Pedal:
Couplers:
Great:
Swell:
Pedal:
Couplers:
Rohrflote 8'
Bourdon 8'
Viola 8'
Subbass 16'
Swell to Pedal
Swell to Great
Principal 8'
Spitzflôte 4
Bourdon §'
Viola 8'
Koppelflóte 4'
Subbass 16'
Swell to Pedal
Swell to Great
Principal 8'
Octave 4
Spitzflóte 4'
Bourdon 8'
Viola 8'
Prestant 4'
Koppelflóte 4
Subbass 16'
Gedackt 8'
Swell to Pedal
Swell to Great
FOUNDATIONS 8' mf
FOUNDATIONS 8' and 4'
Great:
S well:
Pedal:
Couplers:
Great:
Swell:
Pedal:
Couplers:
Principal 8'
Spitzflóte 4
Principal 8'
Bourdon 8'
Koppelflóte 4
Subbass 16'
Swell to Pedal 8'
Swell to Great 8'
Positiv to Great 8'
Principal 8'
Octave 4'
Spitzflote 4'
Principal 8'
Bourdon 8'
Prestant 4'
Koppelflôte 4
Subbass 16"
Gedackt 8'
Swell to Pedal 8'
Swell to Great 8'
23
FOUNDATIONS 8',4' and 2'
FOUNDATIONS and
MIXTURES
24
Great:
Swell:
Pedal:
Couplers:
Great:
Swell:
Pedal:
Couplers:
Principal 8'
Rohrflôte 8'
Octave 4'
Spitzflote 4'
Super Octave 2'
Bourdon &'
Viola 8
Prestant 4'
Koppelflôte 4
Blockflöte 2'
Subbass 16'
Octave 8'
Gedackt 8'
Swell to Pedal
Swell to Great
Principal 8'
Rohrflóte 8'
Octave 4'
Spitzflóte 4
Super Octave 2'
Mixture IV
Bourdon 8'
Viola 8'
Prestant 4'
Koppelflôte 4
Blockflöte 2'
Plein Jeu IV
Principal 16'
Subbass 16'
Octave 8'
Gedackt 8'
Choralbass 4'
Swell to Pedal
Swell to Great
FOUNDATIONS,
MIXTURES and REEDS
Great:
Swell:
Pedal:
Couplers:
Principal 8'
Rohrflóte 8'
Octave 4
Spitzflote 4'
Super Octave 2”
Mixture IV
Bourdon 8'
Viola 8'
Prestant 4'
Koppelflóte 4
Blockflöte 2'
Plein Jeu IV
Contre Basson 16
Trompette 8'
Hautbois 8'
Principal 16'
Subbass 16'
Octave 8'
Gedackt 8'
Choralbass 4'
Fagott 16'
Swell to Pedal
Swell to Great
23
FOUNDATIONS, MIXTURES
AND REEDS
26
Great:
Swell:
Pedal:
Couplers:
Principal 8'
Rohrflóte 8'
Octave 4'
Spitzflóte 4'
Super Octave 2
Mixture IV
Principal 8'
Bourdon 8'
Prestant 4"
Koppelflóte 4
Blockflöte 2'
Plein Jeu IV
Contre Basson 16
Trompette 8'
Principal 16'
Subbass 16'
Octave 8'
Gedackt 8'
Choralbass 4'
Fagott 16'
Swell to Pedal 8'
Swell to Great 8'
ENGLISH CATHEDRAL Great: Principal 8'
Rohrflôte 8'
Spitzflôte 4"
Swell: Lieblich Bourdon 16"
Bourdon 8'
Viola 8'
Prestant 4
Koppelflóte 4
Blockflöte 2'
Contre Basson 16'
Trompette 8'
Hautbois 8'
Pedal: Principal 16'
Subbass 16'
Couplers: Swell to Pedal
Swell to Great
CLASSIC CHORUS
(FOR BACH) — Great: Principal 8'
Octave 4'
Super Octave 2'
Mixture IV
Swell: Bourdon 8'
Prestant 4"
Blockflóte 2'
Pedal: Subbass 16'
Octave 8'
Choralbass 4'
Couplers: Great to Pedal
TRIO PLAYING Great: Rohrflóte 8'
Spitzflôte 4'
Quintflôte 1 1/3"
Swell: Bourdon &'
Blockflöte 2'
Pedal: Subbass 16'
Gedackt 8'
27
CORNET
FIVE SOLO VOICES
(GREAT)
FIVE SOLO VOICES
(SWELL)
28
Great:
Swell:
Pedal:
Couplers:
Great: (1)
(2)
(3)
(4)
(5)
Swell: (1)
(2)
(3)
(4)
(5)
Rohrflóte 8'
Bourdon 6'
Nazard 2 2/3'
Subbass 16'
Great to Pedal
Rohrflote 8'
Spitzflôte 4'
Rohrflôte 8'
Spitzflôte 4"
Cromorne 8'
Cromorne 8'
Spitzflóte 4'
Hautbois 8'
Contre Basson 16'
Trompette 8'
Bourdon 8'
Nazard 2 2/3'
Bourdon 8'
Koppelflóte 4
Nazard 2 2/3'
Tremulant
FOUR ACCOMPANIMENT
VOICES (GREAT)
FIVE ACCOMPANIMENT
VOICES (SWELL)
TWO ACCOMPANIMENT
VOICES (PEDAL)
TRUMPET TUNE
Great: (1)
(2)
3)
(4)
(1)
(2)
(3)
(4)
(5)
(1)
(2)
Great:
Swell:
Pedal:
Couplers:
Flauto Dolce 8'
Flute Celeste 8'
Rohrflote 8'
Rohrflôte 8'
Spitzflote 4
Viola 8'
Viola Celeste 8'
Bourdon &'
Bourdon 8'
Koppelflôte 4'
Viola 8'
Bourdon 8'
Viola 8'
Prestant 4
Subbass 16'
Subbass 16'
Gedackt 8'
Principal 8'
Rohrflôte 8'
Spitzflôte 4
Trompette 8'
Hautbois &'
Subbass 16"
Great to Pedal
Melody (optional)
29
FIVE ACCOMPANIMENT
VOICES (SWELL)
FOUR ACCOMPANIMENT
VOICES (PEDAL)
30
Swell:
Pedal:
(1)
(2)
(3)
(4)
(5)
(1)
(2)
(3)
(4)
Viola 8'
Viola Celeste 8'
Bourdon $8'
Bourdon 8'
Koppelflôte 4
Viola 8'
Bourdon 8'
Viola 8'
Prestant 4'
Subbass 16"
Subbass 16'
Gedackt 8'
Principal 16'
Subbass 16'
Gedackt 8'
Principal 16'
Subbass 16'
Gedackt 8'
Nachthorn 4"
CARE AND MAINTENANCE
As with any fine musical instrument, reasonable care is necessary to protect your investment.
Normally no difficulties should be experienced, as only the finest component parts are used by
Rodgers. If your instrument should require service, your Rodgers Service Representative is fully
equipped and qualified to handle any service problems which may arise.
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. Following are
a few tips on caring for your Rodgers organ.
22 CONSOLE AND PEDALBOARD
A frequent dusting with a soft, clean cloth is usually all that is required. A fine quality furniture
oil will enhance the beauty of the wood. Always 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 a heat register or
near an open window.
@ KEYBOARDS AND TILT TABS
Keyboards and tilt tabs should be cleaned with a soft cloth slightly dampened with water and a
mild soap. Avoid dripping water between the keys. DO NOT USE SOLVENTS (alcohol, gasoline,
carbon tetrachloride, etc.).
a
Е
31
Rodgers Electronic
Date 5/26/92
Model: 441 MIDI Implementation Chart Version: 1.0
Function Transmitted Recognized Remarks
Basic Default: 1-3, 12-14 *1 12-14 *1 12=Great 13=Swell
14=Pedal
Channel Changed: 1-16 MIDI on GT only
Default: Mode 3 Mode 3
Mode Messages: |X X
A ] tered * HAAN AANA ANA HANA ANNAN AAA
Note 22-112 22-112
Number | True Voice
Velocity Note On: О e
Note Off: О X
After Key's: X X
Touch Ch's: X X
Pitch Bender X X
7 O O Channel 12:
Great Expression
Control
Channel 13:
Swell Expression
Change
Channel 14:
Pedal Expression
64 O X MIDI on GT Channel
Program 1-128 1-10, 20, 31, 32
Change True # HE EEE EEE HEADER
System Exclusive O "2 O 2
System :Song Pos |X X
:Song Sel X X
Common iTune X X
System :Clock X X
Real Time :Commands |X 0 *3
Aux :Local ON/OFF |X X
Mes- :All Notes Off |O (123) O (123)
sages :Active Sense O O
:Reset X X
Notes: *1 Able to choose between O and X.
*2 ~~ SysEx used for stop changes, combination memory dumps.
*3 Received Start sends current stop and expression status.
Received Stop restores expression to shoe positions.
Received Continue sets expression to values at last Stop.
Mode 1: OMNI ON, POLY Mode 2: OMNI ON, MONO O : Yes
Mode 3: OMNI OFF, POLY Mode 4; OMNI OFF, MONO X : No
32
Rodgers Instrument Corporation
MIDI System Exclusive Code
Rodgers organs use a subset of the Roland standard MIDI System Exclusive
format. All Rodgers SysEx packets use the Roland “Data Set” command, listed
under “One Way Transfer Procedure” in the Roland System Exclusive format
specification. The first five bytes of this type of packet are as follows:
Byte Function
FOH Begin System Exclusive
41H Roland /Rodgers SysEx ID
10H Device ID*
30H Model ID (30 = organ)
12H Data Set Command
*Note: This byte is usually 10H; however, the organ receives 00H - OFH and can be set to transmit
Device ID 00H or transmit and receive any Device ID between 10H and 1FH. See the last page of
these notes for more information.
This header is then followed by the message body. The message body contains a subcommand byte,
an optional offset byte and a variable number of data bytes followed by a checksum byte and a MIDI
End Exclusive byte (F7). The checksum byte value is such that if all bytes beginning with the
subcommand byte and ending with the checksum byte are added, the lower 7 bits of the result will
be all zeroes.
The following messages are used by Rodgers as of the introduction of models 550, 580 and 685:
1) Stop Change
This message is transmitted each time one or more stops, couplers, or auxiliary controls
changes state. The state of each control is represented as a bit in one of the message data
bytes. The assignment of controls to specific bits is standardized for all Rodgers organs by
use of the master code assignment list included herein. Activated controls ("on") are
represented by ones in the bit map. This message is transmitted on the Sequencer and Pipe
ports only on organs which have a separate MIDI Instrument port. It can, however, be
received on the Instrument port as well.
Subcommand byte: 01H
Offset byte: 00H - 22H This byte indicates the offset of the first data byte from the beginning
of the bit map. Normally, this will be zero, and the entire map (35
bytes) will be transmitted. It is possible, though, to send only part of
the map beginning with the byte indicated by this value.
Data Bytes: dd, dd, ... The data bytes represent the new state of the bit map beginning at the
offset specified above. Any number of data bytes up to the full length
of the bit map may be sent, although the entire map is usually
transmitted. Refer to the included chart for stop map assignments.
33
2)
Memory Dump
This message is transmitted when the organist sends (“dumps”) a combination memory to a
sequencer. The body of the message contains a portion of the data from a combination memory;
several such messages are usually necessary to transmit the complete contents of a memory.
Subcommand byte: 03H
Offset byte: mm This byte contains the zero-indexed number of the combination
memory being dumped.
Data Bytes: dd, dd, ... The data for the memory is converted from one byte with 8 significant
bits to two bytes with 4 significant bits each. The high order bits are
contained in the low order nibble of the first byte. The low order bits
are contained in the low order nibble of the second byte. The contents
of the piston data structure is proprietary and not disclosed.
Table 1. Stop SysEx Code Assignments
STOP BYTE BIT
O 0 “ On Сл +в WON =
13
14
15
16
17
18
19
20
21
24
34
(GREAT)
0 3
1 0
1 2
1 3
1 5
1 6
2 1
2 3
2 6
3 0
3 4
4 1
(SWELL)
7 5
8 0
8 1
8 4
9 3
9 4
9 5
10 0
10 4
10 6
11 1
11 2
STOP NAME
8' Principal
8' Rohrflöte
8' Flauto Dolce
8' Flute Celeste
4' Octave
4' Spitzflóte
2 Superoctave
11/3' Quint
IV Mixture
III Scharf
8' Cromorne
Chimes
16' Lieblich Bourdon
8' Viola
8' Viola Celeste
8' Bourdon
4' Prestant
4' Koppelflôte
2 2/3' Nazard
2' Blockflôte
IV Plein Jeu
16' Contre Basson
8' Trompette
8' Hautbois
25
26
27
28
29
30
31
32
33
34
35
(PEDAL)
21 3 16' Principal
21 4 16' Subbass
22 2 8' Octave
22 4 8' Gedackt
22 6 4' Choralbass
24 2 16" Fagott
(COUPLERS AND OTHER CONTROLS)
25 3 Great to Pedal
25 5 Swell to Pedal
26 6 Swell to Great
31 2 Main Tremulant (Great and Swell)
31 3 Swell Flute Tremulant Full
Changing SysEx Device ID Transmission
At power-up, the 550, 580 and 685 transmit a 10H SysEx Device ID. To change the Device ID which
is transmitted in stop messages, use the following procedure:
The transmit SysEx Device ID will remain changed until the organ is turned off. The 550, 580 and
685 will always respond to Device ID's 00H - OFH plus the Device ID specified above.
1) Hold SET and press MIDI on Great (MIDI on Great will flash).
2) Hold piston #5 and press a key on the Great manual which corresponds to the
Device ID desired:
Low "C" 10H
Low "C#" 11H
Low "D" 12H
Low "D#" 13H
Low "E" 14H
Low "F" 15H
Low "F#" 16H
Low "G" 17H
Low "G#" 18H
Low "A" 19H
Low "A#" 1AH
Low "B" 1BH
Tenor "C" 1CH
Tenor "C#" 1DH
Tenor "D" 1EH
Tenor "D#" 1FH
or
any other key 00H
35
36
Printed in U.S.A. P/N1905-183-D9
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