V O I C I N GT H E P I N N A C L E O F R E A L I S M

E X P E R I E N C E E L E V A T E D

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Read the installation manual FIRST!This describes the function of every menu parameter including the voicing menus. Reading the manual is extremely important if you are installing and voicing a 484, which is quite different than the installation and audio setup of our other organ models.

Before the proposal is written.

Design the speaker layout

• Emulate a pipe organ divisional layout. Refer to the installation manual for examples.

• The normal spacing for channel pair speakers is 8-10 feet apart.

• Direct or reflected sound?

o Large room and/or wet acoustic: aim the speakers directly at the listener.

o Small room and/or dry acoustic: reflect the speaker’s aim off an adjacentsurface which also favors treble response or small rooms where the listener isclose to the speakers.

• Location of SW-6 subwoofers

o Try to place them along the rear wall of the chamber. Placing them a few feettoward the nave will cause some 16’ notes to cancel or double.

o Remember that the Pedal and Great share channels 5 & 6 for mids and highsand channels 7 & 8 for lows. The closer the Great FR-1s are to the subs thebetter as this helps clear up and add definition to sounds in the crossoverrange.

• Large room? Consider SW-18 subs.

o Rodgers builds them to order.

o They are more efficient and produce lower frequencies than the SW-6 subs.

• Double 8-channel pairs allow for Dimensional Audio

o Example for chamber installations: Mount Swell channel one FR-1 on the backwall facing forward and second channel 1 aimed up at front grill. Reason? a sixfoot distance creates a 2 to 3 millisecond difference creating a depthdimension and heard as more spacious sound.

• 16-channel main audio (using both 25-pin connectors) can provide a broader, spreadout sound. Consider how a pipe organ would be placed in the room.

• Secure speaker grill covers, especially the SW-6s, to prevent the risk of themdislodging.

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Be aware of the organ’s environment and purpose.

Before you turn on the organ: observe • The room and its acoustics.

• The Liturgical format and preference of the church. (Individual tastes and preferences may be different. It’s important to know what the church wants.)

• The purpose of the organ. Does the organ primarily support congregational singing? Cantor? Choir?

• Is a lot of amplification present for the choir, worship team, piano, instruments? If so, the master volume of the organ should be higher.

Save time and prevent errors.

Be very familiar with navigating the menus • Press & release left knob to enter a menu or sub-menu

• Rotate left knob to navigate (highlight an item)

• Rotate right knob to change the value

• Press & release right knob to exit the menus

• To enter the service menus, hold SET then press both knobs; release all. This allows access to menu #30 and beyond.

Power on the console.

Test, prevention, caution, and save • Test: Menu 60 Audio Test: verify each speaker has a signal.

• Prevention: Menu 50 System Console: Factory Reset Lock: set and save as [ON]. This prevents the user from doing a factory reset in Menu 15, which resets every menu parameter you changed in installation and voicing! Lock it now so you don’t forget it later.

• Caution: Audio Menus #40, 41, and 42 (Equalizer, Matrix Mixer, and Sub Woofer Mixer) are audio-map-sensitive. Each value must be set appropriately for the four combinations of MAIN OFF and ANT ON.

• After making adjustments, remember to SAVE (SET+0)

o Each item is saved to SYSTEM except for Menu 31 (Stop Voicing) which is saved to VOICING. For convenience, you may save to SYSTEM + VOICING, which takes slightly more time.

o Performing a “system save” while you’re in one menu will globally save all “System” parameters.

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Approach voicing globally at first.

Audio balancing

• Menu 43 Speaker Setup

o Rodgers organs are pre-programmed with several suggested Speaker Setups. Selecting a Speaker Setup sets myriad parameters throughout the service menus. Speaker Setups are simply a quick way to establish a starting point for an installation. After a Speaker Setup is selected, all parameters in the service menus can be altered to customize the organ as dictated by the needs and particularities of each installation. Please refer to your model’s Service & Installation Manual for information about its Speaker Setups.

• Menu 12 Audio – Determine Master Volume

o Open the Crescendo shoe, or push Full Organ or General 10-12, and play the organ. Decide whether the volume is sufficient for the room. Keep in mind that the sound changes when the room is occupied. Keep in mind if the choir, piano, instrumentalists, praise team, etc. is amplified, the organ will need to be louder vs. an acoustic church service. If the organ bench is in the worst place in the room (typical of US churches), play Demosongs in Menu 1 and walk around the room to listen and judge the proper volume of the organ.

• If your installation is using both 25-pin connectors for 16 channel main audio: go to Menu 41 Matrix Mixer

o Adjust as necessary to each division, i.e. SWELL is at 127 only for SWELL and SW 2 is at 127 only for SWELL 2.

o In the voicing menu you will route selected stops (and their VPs) to SW2/GT2/CH2/PD2/SO2 (the second 25-pin connector).

• You may wish to experiment with the speaker placement and aim for direct or reflective sound.

Don’t be fooled by RSS.

Turn off RSS to hear dry sound as you voice

• Menu 41 Matrix Mixer – for each division, turn the RSS Send to 0. This is the most effective way to turn off RSS.

• You’ll turn RSS back on later.

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How does the room respond to treble and bass frequencies?

Audio equalization

• Menu 40 Equalizer (audio-map-sensitive)

• Values are pre-configured based on the selected Speaker Setup. However, further adjustment is recommended according to the room’s response.

• David Lee offers these comments:

o We normally reduce the Bass EQ -6 DB for each of the FR-1 channels.

o #42 (Sub Woofer Mixer) I increase the “Great/Pedal to SWF1” to around 50. I often reduce “SW to SWF1” and “CH to SWF1” to 0 so the FR-1s have a little more duty, since there is little requirement for 16’ fundamental in those divisions, i.e. Quintadena, Violone, Bourdon Doux, Faggott etc.

o Then I treat the Great as usual assuming a "close proximity" of GT FR-1s to SW-6s. This helps clear up some of the cross-over fog common in “bi-amp” style systems. I’m not criticizing bi-amping, it is the best. Just trying to improve the edges.

• David Yoder offers these comments:

o Understand the function and use of the “Equalizer” menu. Take some time to experiment with changes to the available parameters and how they affect the sound.

o Differentiate between “brightness” and “loudness”. Do not use the treble gain controls in the “equalizer” menu to correct excessively “loud” treble notes. Decreasing the treble gain will make the notes softer but it also alters the relationship between fundamental pitch and harmonics. It should almost never be necessary to change the treble gain settings!

o Differentiate between “thickness” and “volume” in the bass range. Use the equalizer to correct excessive or diminished thickness (fundamental) in bass notes – not to correct volume problems.

o Listen to the room. Live rooms can handle more treble than dead rooms while dead rooms can use more bass.

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Use discretion for subtlety.

Balance Antiphonal Audio

• Menu 40 Equalizer (audio-map-sensitive): check the EQ and volume levels of the Antiphonal speakers

o It is less time-consuming to adjust the volume level of the Antiphonal speakers

here vs. the Matrix Mixer menus.

• Menu 41 Matrix Mixer (audio-map-sensitive): check each division’s output to Antiphonal according to the combinations of MAIN OFF and ANT ON

• With MAIN ON and ANT ON, maintain the audio focus so the listener has the impression the organ sound emanates from the general area of the main speakers. Antiphonal audio should primarily support congregational singing.

• Bob Knight offers this comment:

o One trick Bob Tall and I use on organs that have antiphonal is to have the antiphonal at about 15%, even when it's "off". This really brings the main organ out into the room. In four channel antiphonals, where you have antiphonal and solo reed, we use the matrix mixer to distribute the stops between the 4 channels, which gives a much better sound, and doesn't leave two channels doing nothing but the solo reed.

o You can also get a 4-channel antiphonal, even if you have the separate solo reed channel in use in front, by using both 9-pin outlets for antiphonal and ambience, and assigning the division volumes accordingly in the matrix mixer. The matrix mixer is really a wonderful and powerful tool!

• Options for MAIN OFF audio mapping

o Reduce master volume.

o Send the Swell divisional audio only to the Antiphonal speakers, keeping the other divisions in the Main audio.

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The factory defaults for many parameters are probably just fine, no adjustments are needed.

Some global adjustments to consider

• Menu 30 Pipe Modeling

o Random detuning (for a hybrid installation perhaps a lower number is desired)

o Wind Supply

o Zimbelstern

o Chimes

• Menu 50 System Console

o Default Gt/Ped enclosed

o Memory Bank Lock

o Factory Reset Lock (set this to ON)

o Master Volume Lock (important if this installation has pipes)

• Menu 10 Expression Pedal

o Shutter thickness

o Foot switch function

• Menu 8 Console

o Blind – NEVER set to “Operate” !!

o Music Rest and Piston lamp settings

• Menu 9 Tremulant

o If desired, adjust the depth and rate of each tremulant

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Factory voicing may be sufficient.

Voicing Basics Note: The default factory voicing may agree with the room and your personal taste. For detailed voicing information, refer to the Infinity Installation Guide, pp. 24-34.

1. Go to menu #31 “Stop Voicing.”

2. Select a stop to voice:

a. Lighted console: double-pull a drawknob (or double-press a tab) to select it.

b. Moving console: hold SET and turn on a drawknob to select it.

c. Use the Value knob to select the Voice Palette stop.

3. Items in the top-level menu (Level, Tone, Tune, etc.) affect all ranks of the stop.

a. If your installation utilizes two 8 channel amps each connected to a 25-pin output, go to “Output” to select/change the stop’s output (i.e. Great 1 or Great 2)

b. If you need more power (volume) from the loud reeds, try changing the output to ORCH. (The Matrix Mixer’s default setting: ORCH sends audio to all speakers.)

c. “Velvety” is a chorus effect.

4. Adjustments can be heard real-time on most parameters. However, you need to re-key the note to hear adjustments for Attack, Warmth, Presence, and Brilliance.

5. Increasing the numbers for “Attack” decreases the attack effect.

6. Highlight [RANK VOICING] and push the Menu knob to enter. Use the Rank Voicing menus to adjust parameters of individual ranks of multi-rank stops. Push the Value knob to exit.

7. Highlight [NOTE VOICING] and push the Menu knob to enter.

a. To voice a range of notes:

i. SET + play 2 keys = voice by range ii. SET + play 3 keys = low anchor note, fulcrum, high anchor note

iii. SET + play 1 key = returns to single-note voicing

b. To voice notes 62-73 of some Swell or Choir stops in Infinity models, turn on the Unison Off and the 4’ Super Coupler of that division and play notes in the top octave.

8. Save your voicing (SET+0); save to VOICING when prompted by the LCD screen.

To save a backup copy of the voicing file, insert a USB stick and go to menu #14 “Save/Load (USB)” -> Save Voice Setup. “Factory Voice” is highlighted. Push the Menu knob to rename the file, i.e. “St Marys Portland.” Follow onscreen prompts to save the file. Refer to p. 37 of the Owner’s Manual for more information.

9. When note-voicing the Infinity 243 and 361 Solo Trompette en Chamade (and VPs), turn on the Solo to Swell coupler.

10. To adjust Chimes and Zimbelstern, go to Menu 30 “Pipe Modeling.”

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Checks and balances

• Check low frequencies (32’ and 16’ stops) for unevenness.

• Check the relationship between divisions.

• Check the relationship between 8 – 4 – 2 – mixture – chorus reeds

• Check loud reeds for distortion.

o A solution to eliminate distortion is to route the loud reeds to SO2 or CH2 in the Stop Voicing menu, then in the Matrix Mixer, route SO2 or CH2 among several speaker pairs. (Remember audio map settings!)

• The default factory voicing may agree with the room and your personal taste for the most part.

• Bob Tall offers these comments:

o The organs come from the factory very much voiced to my taste. (I had a lot of input into this process at the time.) So, unlike the old days, these organs only require some minimal tweaking, since they are in my "taste" ballpark to begin with.

o The acoustics of the room and speaker placement/egress vary, so each stop needs to be checked from low to high and evaluate the performance in the acoustical setting. I know they have been voiced in the factory and don't always translate to a larger space. However, a lot of note by note adjustments are not necessary, since those relationships don't change.

o Most of my adjustments are global. I learned from Francesco Ruffatti that playing with the highs is how you achieve a solid ensemble in the middle of the keyboard.

o The goal is to achieve a warm and powerful ensemble regardless of the number of stops playing.

• Bob Knight comments:

o I've changed my approach over time, particularly due to the information gained in the factory voicing seminars, and working with Bob Tall. Originally, I approached voicing a Rodgers organ just like I had previously voiced a pipe organ - Start with the Great 8' Principal, then the 4, and the rest of the principal chorus, then balance the principal choruses in the secondary divisions in proper relationship to the Great, and so on through the rest of the organ. Now I realize that much of this has already been done in the factory voicing, and I start by adjusting the volume level to the approximate correct level, and then balancing the equalizer and divisions so they sound balanced in the room. Once that is done, frequently there won't be any voicing left to do. I haven't yet used the spectrum analyzer that John P. detailed at the last dealer meeting, but that seems like a good work saving tool. We basically do the same thing by ear - play the organ "out of the box" and listen to which frequencies need adjusting according to the room acoustic. We do play music quite a bit as part of the process, many slight imbalances or the room picking up a

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certain note aren't as readily apparent when you're just playing notes on a single stop.

o Another thing I check is that the solo voices are in proper relation to the accompaniment voices.

o I almost always wind up making the Choir Celeste louder to be an effective accompaniment to the Swell Oboe and Cornet, and making the Great 8' Harmonic Flute louder so that it's an effective alternative solo voice to the Swell Oboe and the English Horn with the same accompaniment. In my opinion, the Choir Celeste should be about 20% less than the Swell strings, not half.

Digital voicing with pipes.

Voicing digital stops of a hybrid organ • Bob Tall offers these comments:

o The goal is ensemble. It, of course, depends on the pipe organ. If the pipes are ugly, the goal is not to match the Rodgers sound to ugliness! Many older pipe organs are dull and off speech. They benefit greatly by the addition of digital stops, listening and adjusting Principals with a more noticeable degree of edge‐tone. It is not the goal to necessarily match the pipes, but to increase the number of sound sources. Like an orchestra. In order to get a larger violin section sound you don't make the violin bigger (which would become a viola), you add more violins! The magic is when you play the pipe and digital together, two or more 8' Principals in each division. That was the goal for creating the specs on the present Rodgers organs. Besides, it is competitive. I use the number of 8' stops on Rodgers in sales presentations, because our colleagues (competitors) specs are weak in the 8' plenum department.

o Each instrument has to stand alone and then play together. This can be technical, for sure, but that's the goal. It is unwise to try and match the digital sound to an old ugly pipe (and there are thousands of them out there!) If you are working with new or newer pipes, that's different, but even then there are serious flaw variations in fine pipe organs and these can be disguised by clever voicing of the digital stop. Above all, though, the goal is to create a warm, solid and powerful ensemble. The pipe/digital combination is the pipe organ of the future and Rodgers is in the best position to capitalize on that future progression.

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Hybrid voicing, continued

• Tom Magee offers these comments:

o Organs with good pipes are MUCH easier to voice because you have a foundation already built. And, you have a sound that you have to voice 'to - rather than create a sound for the room.

o Listen to the pipes....and be sure you are using good pipes. We have done some hybrids where most of the pipe stops have ended up as Palette stops because the digital was better! Try to make the harmonics 'fit' the scheme of the pipes so that when added they blend perfectly into the chorus.

• Bob Knight offers these comments:

o It takes longer to voice a pipe combination organ. It's more difficult to balance the voices, since most pipe ranks have more acoustic energy than the corresponding digital stop, one must be careful when trying to balance the effect in the room to not make the electronic stops too loud.

o We generally do not try to match the voice color exactly between pipe stops and the corresponding digital stop. Their slightly different character adds more when both are used together than if they're identical.

• Dave Lee offers these comments:

o Every Pipe Organ is different and needs to be addressed uniquely. If we are not using all the ranks, I always choose Flue types at 8’ and 4’. If using the entire instrument, I will let the pipe organ direct my paths. For example, If the Great is open, then all the Rodgers ranks used in the Great will be set to “Unexpressed” in Menu #31/Stop Voicing/Check Reed Enclosed. This toggles on and off. The rest of the Great Pallets will remain expressed to allow a Principal Chorus under expression to be selected. All Swell or Choir is set to “Unexpressed” as we then use the Swell shades in lieu of. When voicing begins, I simply follow the rules of the Pipes. CAUTION: In this mode the SW and CH are also unexpressed in the Antiphonal.

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Maintain the warm “Rodgers sound.”

Approaches to detailed stop voicing • Tom Magee’s approach and opinions:

o It has been my experience that we need to round out most organs in dead rooms. If we try to overemphasize 2' voices, Mixtures and trebles usually become thin and harsh.

o When voicing begins I always start with the principal choruses and listen to relationships between the 8, 4, 2' volumes. There are several 'theories' of how they should balance. One is that they should each come down in volume a bit but every Skinner I have played has 4' principals that are louder than their 8' 'foundation'. You need to listen and see what works best in the room for the purposes.

o Following that each of the other principal choruses needs to be balanced against the GT....and then on to the flutes.

o We try to give the strings a little more 'bite'. They are a little too romantic/mushy for our taste.

• Dave Yoder’s approach and opinions:

o Differentiate between “brightness” and “loudness”. Do not use the treble gain controls in the “equalizer” menu to correct excessively “loud” treble notes. Decreasing the treble gain will make the notes softer but it also alters the relationship between fundamental pitch and harmonics. It should almost never be necessary to change the treble gain settings!

o Differentiate between “thickness” and “volume” in the bass range. Use the equalizer to correct excessive or diminished thickness (fundamental) in bass notes – not to correct volume problems.

o Note that every current Rodgers product produces excessively loud treble notes on most stops and has too much fundamental on many stops in the bass range compared to modern pipe organs. These characteristics must be corrected in the “stop voicing” menu to achieve the best sounding instrument. This is a time-consuming process and you should allow a minimum of four to six hours to do a two manual instrument, six to twelve for a three manual, eight to fourteen for a four manual.

o Tailor your voicing to the denomination and expected primary usage of the instrument. Lutheran organs do not sound like Catholic organs, etc.

o Voice the stops in a logical order, and use the same order each time you voice an instrument.

o Guidelines for stop and divisional volume levels as follows: Gt. 8’ Principal should be as loud as you would sing at full voice, Sw. slightly softer, Choir about the same. Differences between divisions are obtained primarily through different color, not volume. Flutes should be about 80 to 90 % the volume of Principals. Sw. 8’ Trumpet

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about the same as Gt. 8’ Principal to start with. Note that stops need to be more nearly equal in volume in small organs than in large ones. This ensures the most flexibility in registering the organ.

o Suggested order as follows: Gt. 8’ Principal/chorus, Sw. Princ. Chorus, Ch. Princ. Chorus, Pd. Princ. Chorus (start with 8’), then flute choruses in the same order. Now listen to all & refine if necessary. Sw. 8’ Trumpet is next. It should be voiced to BLEND with the GREAT division Plenum, adding only a little color in the middle of the keyboard with good “rattle” at the bottom. Make this stop taper upward in volume from c3 down to achieve this effect. Complete this chorus, Gt. Reeds, Pd. Reeds, then all color and solo reeds. Celestes, mutations, 32’ Pedal and 16’ manual flues come last.

o Turn down the treble note volume on a taper and increase the stop level if you cannot get the bass notes loud enough. Resist the temptation to increase the “Warmth” level unless there is too little fundamental. It is often useful to increase the “midrange” level of bass notes in the note voicing window to achieve more volume as well as presence to bass notes – generally below 4’ C.

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Use discretion.

Turn RSS on Nelson Dodge offers these suggestions:

o Menu 6 – Room Modeling: Room size – Church; Wall Type – Wood o Menu 41 – Matrix Mixer – RSS Send

RSS Send (parameter)

This is the last parameter in the list of parameters for each of the divisions

Swell 60 - 80 Set these values the same for ALL FOUR audio maps. Note: these values need to be tweaked per the actual acoustics of the room and the placement of the speakers corresponding with each of these outputs. Differences in the values between Swell and Swell 2 (for example) will change the overall character of the reverb for the Swell division depending on the specific voices assigned to the Swell output channels (see output parameter for each voice in the Voicing menu). In general, use higher values for the outputs with 8’ & 4’ Principals stops, lower values for outputs with 2’ Principals and Mixtures.

Swell 2 60 - 80 Great 60 - 80 Great 2 60 - 80 Choir 60 - 80 Choir 60 - 80 Pedal 100 Pedal 2 100 Solo 100 Solo 2 100

o Menu 41 – Matrix Mixer – RSS-Front and RSS-Rear

RSS-R / RSS-F Swell 10 Set these values the same for BOTH the RSS-R and RSS-F outputs

and for ALL FOUR audio maps. These values represent a starting point—fine tune the values for the specific speaker placement and acoustics of the installation. Use higher values for main division speakers that are positioned to speak indirectly, lower values for main speakers that are positioned to speak more directly. In general, lower values for the main speakers combined with higher values for the antiphonal speakers create the effect of the reverberation being “in the room.”

Choir 10 Great/Ped 30 Swell 2 20 Choir 2 20 Great/Ped 2 30 Antiphonal 105 Solo 0 Ambience 0

o Menu 12 – Audio – Reverb Volume: 80. Fine tune this value after all other settings are determined. Ultimately, this value is accessible to the user and may be changed as needed.

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Time-saving tips and tricks.

Stuff You Should Know 1. Saving a piston captures the VP status of all stops, lit or unlit

a. This is a feature. It is a performance advantage for the organist who initially engages a piston but during playing will manually turn on additional stops. It guarantees the organist will select his/her preferred preset Voice Palette or User/Library selection.

b. To set this up, the organist should light up all stops selecting the preferred VP and then turn off the stops not wanted for that piston, then set the piston.

2. Useful factory default registrations are on Memory Level 1 and 2 (Infinity models)

a. Default Memory 1’s General pistons begin with celestes, graduating to classical/church registrations culminating with full organ.

b. Default Memory 2 contains orchestral and theater organ registrations. On the 361 or 484, use General 7 to demo a Trumpet Tune (with Orchestral Trumpet on the Swell) and General 8 to play the Trumpet Tune’s full registration with Timpani in the pedals. (For the 243 these are found on Generals 6 & 7.)

3. USB thumb drive tips

a. Use a different USB thumb drive for each organ model. This applies for all data: memory level registrations, backups, voicing saves, song data. The USB drive can be used on like-models. For example, your “361” USB stick will work on any 361.

b. If you or your customer use a non-Rodgers USB drive:

i. Before saving any data to the USB, format it in the organ, menu #14 “Save/Load (USB)” or in a computer to delete any embedded software on the stick. Some commercially-available USB drives contain hidden software which might confuse the organ.

ii. Smaller memory capacity USB drives work better. The standard Rodgers USB drive is 2 GB but even a 128 MB USB drive will work fine.

c. How to save/backup an entire internal memory level to USB:

i. The USB must be dialed to an empty folder letter, or the active memory level has not previously been written to the USB stick in the folder in use.

ii. On the organ, press any piston (for example, General 1)

iii. Hold SET and press the same piston (SET+Gen 1). This now saves ALL pistons of that memory level onto the USB stick.

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d. How to copy a memory level from the USB stick to the organ’s internal memory:

i. Go to menu #14 “Save/Load (USB)” -> Copy Memory Bank. Follow onscreen prompts.

4. How to access any Library Access selection

a. Infinity organs: Turn on a drawknob engraved with a small “L” and use the Value knob to dial past the Voice Palette selections. Numbers 001-121 are pipe organ selections; numbers 200-258 are orchestral selections.

5. How to voice any Library Access selection (Infinity organs)

a. When the Library Access selection is onscreen, press SET which reveals the menus. These values will save to a divisional or general piston.

6. Where are all the Demo Songs?

a. Classic and Artist models: Menu 1 “Demo” contains all the demo songs.

b. Infinity models’ Menu #1 “Demo” contains a few selections, but many selections are available in menu #4 “Song Recorder.” Select the Source as PRESET to reveal the songs. All the songs in menu #4 respond to the educational/practice features such as Metronome and Division Mute.

6. What is the shortcut to the Transposer?

a. From the main screen, while holding SET, rotate the Value knob.

b. Transposer returns to 0 when the Cancel piston (0) is pressed.

7. Ways to set GT/PED to unenclosed by default

a. Go to Menu #50 “System Console” and set “Default I/P Encl” to OFF. The organist can light up the GT-PED ENCL piston anytime and save it to any General if they desire the Great & Pedal to be expressive. The organist may desire expression when using orchestral sounds from the Library or MIDI sounds from an external MIDI sound module.

b. Or, go to Menu #10 “Expression Pedal” and set “Great/Pedal” to OFF. This disables the Great and Pedal from responding to the expression shoe and disables the lit or unlit status of the GT-PED ENCL thumb piston.

8. How to lock Master Volume

a. Especially for a pipe interface installation you may prefer the organist not to change the Master Volume setting in menu #12 “Audio”. After you have determined the proper Master Volume setting, go to menu #50 “System Console” and set “Master Volume Lock” to ON. In Menu #12 “Audio” the Master Volume’s value is now displayed as FIXED.

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9. How to lock Memory Levels

a. The ability to lock/unlock memory levels is not available to the organist. However, memory levels may be permanently locked in menu #50 “System Console.” Go to Memory Bank Lock and select a number. This will lock memory levels in sequential order, i.e. a value of 4 will permanently lock memory levels 1, 2, 3 and 4. Warning: this will also permanently lock the same memory levels on any USB memory stick in all registration folders!

10. Hymn Player disables Pedal keying

a. By design, pedal keying is disabled in the Hymn Player mode for the non-organist who rests their feet on the pedals while operating the Hymn Player.

b. Pressing Cancel (0) does not exit the Hymn Player mode! This is accomplished via pressing the Value knob.

c. If a caller complains the pedals are not working, ask if the organ is in Hymn Player mode. If so, push the Value knob to exit, then the pedals will function normally.

11. How to add more bass in the pedals

a. Go to menu 40 “Equalizer” and verify that each manual division’s Low Gain value is -6. (This routes low frequencies to the subwoofers so the FR1 speakers are not full-range.)

b. Go to menu 42 “Sub Woofer Mixer” and increase the value for Great/Pedal to SWF1.

c. Go to the menu 31 “Stop Voicing” and increase the “Warmth” value on the desired 32’ and 16’ pedal stops.

12. My installation has 8 channels plus 2-channel Antiphonal. I want the Trompette en Chamade in the back of the room. How do I route the Chamade to the Antiphonal and route the rest of the Solo stops to the main audio in the front of the room?

a. Go to menu #41 “Matrix Mixer.” At the top of the screen, dial to “Solo.” Highlight the output [Gt, Sw, Ch] where you want to hear the Solo and change the number to 127.

b. Stay in menu #41 “Matrix Mixer: At the top of the screen, dial to “SO2.” Change the “Antiphonal” level to 127 for all audio maps (combinations of Main Off/Ant On).

c. Go to menu #31 “Stop Voicing” and select the Solo Trompette en Chamade. Change the output to SOLO2. Do this for any desired VPs of the Trompette en Chamade.

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13. My installation has standard 8-channel audio. How can I get more power (louder sound) out of the Trompette en Chamade?

a. Go to menu #31 “Stop Voicing” and select the Solo Trompette en Chamade. Change the output to ORCH. Do this for any desired VPs of the Trompette en Chamade. This sends the stop to all 8 channels as shown in the Matrix Mixer for ORCH.

14. How to reconfigure the function of any toe stud and some tabs (not couplers)

a. Go to menu #51 “Switch Assign” and follow onscreen prompts.

b. Refer to the Infinity Installation Guide for more information.

c. Thumb piston reconfiguration is not recommended.

15. Stop selections for Tutti and Crescendo settings are not Voice-Palette specific.

a. Engaging Tutti or Crescendo merely turns on stop controls.

b. Refer to the Owner’s Manual for the procedure to set Tutti or Crescendo.

16. Owner Manuals are available on rodgerstech.com.

a. Click “O” in the alphabetical letters.

b. Click “Owner Manuals.”

c. Find the organ model; if the part number is underlined, click it for the PDF link.

d. View / save / print / email the Owner’s Manual.

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D E D I C A T E D T O

M O V I N G H E A R T S A N D S O U L S

Since 1958, Rodgers has been committed to heightening the spiritual experience of audiences with the transformational

power of music. Rodgers organs not only capture the essence of American pipe organ sound, they have led the way in

making organs more accessible to places of worship, universities, music schools, and enthusiasts around the world.

R O D G E R S I N S T R U M E N T S U S L L C 21333 NW Jacobson Road, Building 7, Suite D-200, Hillsboro, OR 97124

phone 503.648.4181 web www.rodgersinstruments.com

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