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Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed.In electric-action organs, the console is often movable. This allows for greater flexibility in placement of the console for various activities. Some very large organs, such as the van den Heuvel organ at the Church of St. Eustache in Paris, have more than one console, enabling the organ to be played from several locations depending on the nature of the performance.These controls are generally either draw knobs (or stop knobs), which engage the stops when pulled out from the console; stop tablets (or tilting tablets) which are hinged at their far end; or rocker-tablets, which rock up and down on a central axle. Different combinations of stops change the timbre of the instrument considerably. The selection of stops is called the registration. On modern organs, the registration can be changed instantaneously with the aid of a combination action, usually featuring pistons. Pistons are buttons that can be pressed by the organist to change registrations; they are generally found between the manuals or above the pedalboard. In the latter case they are called toe studs or toe pistons (as opposed to thumb pistons). Most large organs have both preset and programmable pistons, with some of the couplers repeated for convenience as pistons and toe studs. Programmable pistons allow comprehensive control over changes in registration. Newer organs may have multiple levels of solid-state memory, allowing each piston to be programmed more than once. This allows more than one organist to store their own registrations. Many newer consoles also feature MIDI, which allows the organist to record performances. It also allows an external keyboard to be plugged in, which assists in tuning and maintenance.You may improve this section, discuss the issue on the talk page, or create a new section, as appropriate. http://www.laznickova.cz/userfiles/bosch-logixx-dryer-manual.xml

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( November 2014 ) ( Learn how and when to remove this template message ) It boasts 522 draw knobs, and, in addition to the other controls available to the organist, yields 796 total controls. The stops controlling each division (see Keyboards ) are grouped together. Within these, the standard arrangement is for the lowest sounding stops (32. In a horizontal row of stop tabs, a similar arrangement would be applied left to right rather than bottom to top. Among stops of the same pitch, louder stops are generally placed below softer ones (so an Open Diapason would be place towards the bottom and a Dulciana towards the top), but this is less predictable since it depends on the exact stops available and the space available to arrange stop knobs. On the left hand side, the Pedal division is on the outside, with the Swell to the inside. Other divisions can be placed on either side, depending on the amount of space available. Manual couplers and octave extensions are placed either within the stop knobs of the divisions that they control, or grouped together above the uppermost manual. The pistons, if present, are placed directly under the manual they control.Mary's Redcliffe church, Bristol, England. The organ was built by Harrison and Harrison in 1912 and restored in 1990.The names of the divisions of the organ vary geographically and stylistically. Common names for divisions are:Taking the English names as an example, the main manual (the bottom manual on two-manual instruments or the middle manual on three-manual instruments) is traditionally called the Great, and the upper manual is called the Swell. Some larger organs contain an Echo or Antiphonal division, usually controlled by a manual placed above the Solo. German and American organs generally use the same configuration of manuals as English organs. On French instruments, the main manual (the Grand Orgue) is at the bottom, with the Positif and the Recit above it. http://elfast.ru/userfiles/bosch-logixx-express-dishwasher-user-manual.xml

If there are more manuals, the Bombarde is usually above the Recit and the Grand Choeur is below the Grand Orgue or above the Bombarde.Organists will frequently mark a part in their music with the number of the manual they intend to play it on, and this is sometimes seen in the original composition, typically in pieces written when organs were smaller and only had two or three manuals.In these cases, the extra divisions are called floating divisions and are played by coupling them to another manual.Many organs that are built today following historical models are still tuned to historically-appropriate temperaments.Portative organs may have a range of only an octave or two, while a few large organs, such as the Boardwalk Hall Auditorium Organ, may have some manual keyboards approaching the size of a modern piano.On a two-manual (Great and Swell) organ, this will be the Swell division (from whence the name comes); on larger organs often part, or all of, the Choir and Solo divisions will be enclosed as well.All the pipes for the division are surrounded by a box-like structure (often simply called the swell box ). One side of the box, usually that facing the console or the listener, will be constructed from vertical or horizontal palettes (wooden flaps) which can be opened or closed from the console. This works in a similar fashion to a Venetian blind. When the box is 'open' it allows more sound to be heard than if it were 'closed'.Unlike a car accelerator pedal, a balanced expression pedal remains in whatever position it was last moved to.Many ratchet swell devices were replaced by the more advanced balanced pedal because it allows the enclosure to be left at any point, without having to keep a foot on the lever.Applying the crescendo pedal will incrementally activate the majority of the stops in the organ, starting with the softest stops and ending with the loudest, excluding only a handful of specialized stops that serve no purpose in a full ensemble. http://www.drupalitalia.org/node/67312

The order in which the stops are activated is usually preset by the organ builder and the crescendo pedal serves as a quick way for the organist to get to a registration that will sound attractive at a given volume without choosing a particular registration, or simply to get to full organ.It is unnecessary to couple the pipes of a division to the manual of the same name (for example, coupling the Great division to the Great manual), because those stops play by default on that manual (though this is done with super- and sub-couplers, see below). By using the couplers, the entire resources of an organ can be played simultaneously from one manual. On a mechanical-action organ, a coupler may connect one division's manual directly to the other, actually moving the keys of the first manual when the second is played.These can be used in conjunction with the standard eight foot coupler. The super-octave may be labelled, for example, Swell to Great 4?; in the same manner, the sub-octave may be labelled Choir to Great 16?.Some literature (particularly romantic literature from France) calls explicitly for octaves aigues (super-couplers) to add brightness, or octaves graves (sub-couplers) to add gravity. Unison off couplers can be used in combination with super- and sub-couplers to create complex registrations that would otherwise not be possible. In addition, the unison off couplers can be used with other couplers to change the order of the manuals at the console: engaging the Great to Choir and Choir to Great couplers along with the Great unison off and Choir unison off couplers would have the effect of moving the Great to the bottom manual and the Choir to the middle manual.This is a device that allows the sounds played on the pedals to be split, so the lower octave (principally that of the left foot) plays stops from the pedal division while the upper half (played by the right foot), plays stops from one of the manual divisions. http://clinicafootcenter.com/images/4-manual-hauptwerk-console.pdf

The choice of manual is at the discretion of the performer, as is the 'split point' of the system. The system as found in Truro Cathedral operates like this:Retrieved 31 March 2016. By using this site, you agree to the Terms of Use and Privacy Policy. Relevant discussion may be found on the talk page. Please help improve this article by introducing citations to additional sources.The two lower manuals are each five octaves in range; the uppermost manual spans two octaves. Elaborate pipe organs and theater organs can have four or more manuals.A typical, full-size organ manual consists of five octaves, or 61 keys. Piano keyboards, by contrast, normally have 88 keys; some electric pianos and digital pianos have fewer keys, such as 61 or 73 keys. Some smaller electronic organs may have manuals of four octaves or less (25, 49, 44, or even 37 keys). Changes in registration through use of drawknobs, stop tabs, or other mechanisms to control organ stops allow such instruments to achieve an aggregate range well in excess of pianos and other keyboard instruments even with manuals of shorter pitch range and smaller size.Mary Redcliffe church in Bristol, England, with four manuals. On smaller electronic organs and synthesizers, the manuals may span fewer octaves, and they may also be offset, with the lower one an octave to the left of the upper one. This arrangement encourages the organist to play the melody line on the upper manual while playing the harmony line, chords or bassline on the lower manual.On digital synthesizer instruments a performer can produce the sounds of an entire orchestra through the use of all available manuals in conjunction with the pedalboard and the various registration controls.Organ keys often require less force to depress than piano keys. When depressed, an organ key continues to sound its note at the same volume until the organist releases the key, unlike a piano key, whose note gradually fades away as the string vibrations fade away. https://www.a2zmedical.com.au/wp-content/plugins/formcraft/file-upload/server/content/files/1626c5f16748d0---carlson-survce-20-manual.pdf

On the other hand, while the pianist may allow the piano notes to continue to sound for a few moments after lifting their hands from the keys by depressing the sustain pedal, most organs have no corresponding control; the note invariably ceases when the organist releases the key. The exception is some modern electronic instruments and relatively contemporary upgrades to theatre pipe organ consoles, which may have a knee lever which sustains the previous chords or notes. The knee lever enables an organist to hold a chord or note during a fermata or cadence, thus freeing up their hands to turn a page in the sheet music, change stops, conduct a choir or orchestra, or shift hands to another manual.Unlike the case of piano keys, the force with which the organist depresses the key has no relation to the note's resonance; instead, the organist controls the volume through use of the expression pedals. While the piano note, then, can only decay, the organ note may increase in volume or undergo other dynamic changes. Some modern electronic instruments allow for volume to vary with the force applied to the key and permit the organist to sustain the note and alter both its attack and decay in a variety of ways. For example, Hammond organs often have an expression pedal, which enables the performer to increase or decrease the volume of a note, chord, or passage. All of these variables mean that both the technique of organ playing and the resulting music are quite different from those of the piano. Nevertheless, the trained pianist may play a basic organ repertoire with little difficulty, although more advanced organ music will require specialized training and practice, as the musician has to learn to play on multiple manuals, set stops and other controls while performing, and play the pedal keyboard with the feet.Each manual has drawbars which are used to control the registration for each manuals. AYKUTEMLAK.COM/upload/ckfinder/files/canon-imagerunner-1310-user-manual.pdf

Theatre pipe organs use the nomenclature Great, Accompaniment, Solo, Bombarde, and Orchestral.This further increases the instrument's versatility, as a piston or other preset function can cause multiple stops to be pulled out or pushed in automatically. This is of particular benefit in pieces where a number of stops have to be pulled out or pushed in between sections. Devices known as couplers are sometimes available to link the manuals, so that the stops (and pipes) normally played on one can be played from another.By using this site, you agree to the Terms of Use and Privacy Policy. Google gives so many answers that it confuses more than helps, and Wikipedia seems unsure. To make sure I'm making myself clear, let me ask the same question a slightly different way. The result of your searches just confirms this. Specification, PDF I am familiar with two such organs, both located in Salt Lake City, Utah. The famous Tabernacle Organ (which I have played once), and the newer organ built for their Conference Center. Both have FIVE manuals. Couplers are provided that combine the manuals and ranks together, as well as mixing various instruments, percussion, and other sounds. I was not even aware that the Conference Center organ HAD five manuals! (Having never seen or heard it.) Thanks. --L3B It had not occurred to me that this was not the standard term. This would allow a loud-adjunct combination to be set up on the Anches chest and brought on by turning on the wind. So the ventil levers were useful. The order of manuals in these organs from the bottom is Grand-Orgue (Great), Positive (Choir), Recit (Swell), and they are often played all coupled together -- and this allows going from loud to softer to softer by moving up the manuals, and vice versa. This is very handy, and allows rapid easy contrasts. {-Variable.fc_1_url-

The bottom keyboard is called the Grand-Choeur not just because it is loud, but because it is often the case that all 5 keyboards are coupled together, so that one gets both different colors and loudness on each, but so that one can move down to get full organ. So the build up of sound on the Saint Sulpice instrument is done by using a lot of stops, and the voicing is quite marvelous to allow a very clear sound rather than just mud.To identify the 5th manual (topmost), it can be helpful to apply a few very general rules: In the '3 manual' organ, the order from bottom to top should be Choir - Great - Swell.There is no standard name for a 5th manual, though 'Echo' may be as common as anything else. You obviously wouldn't write a piece requiring 5 manuals unless you had a particular performance on a particular instrument in mind. Use the name THAT one uses. Provide details and share your research. Making statements based on opinion; back them up with references or personal experience. To learn more, see our tips on writing great answers. Browse other questions tagged technique terminology or ask your own question. It benefits from a full complement of divisional thumb pistons and additional toe pistons. There are also speakers in the side panels and tweeters above the swell manual to create a full 3 dimension sound field for exciting home practice. New to range so detailed photography to follow. Okay, thanks. The Great is the lower and the Swell is the upper manual. This Choir or Positiv (Positif) manual becomes the first manual, the Great becomes the second manual, and the Swell the top, or third manual. If the division is unenclosed ( encased or exposed ) the division and the manual are usually called “The Positiv” (Positif). As in a three-manual organ, the Choir or Positiv is the first (lowest) manual, the Great is the second, and the Swell is the third manual. The stop jambs are angled inward toward the organist for ease of access. http://windcampus.com/wp-content/plugins/formcraft/file-upload/server/content/files/1626c5f2818e93---carlson-survce-manual-espa-ol.pdf

When it is up, it is disengaged (retired). When pushed in, it is disengaged (retired). Stops can be rapidly retired by pushing the stop knobs in with the flat hand and spread fingers. These are engaged or “pulled” when the bottom of the tab is pressed, and retired when the top is pressed. The set button is nearly always located underneath and to the left of the lowest manual.Great “ locals,” for example, are found centered underneath the Great manual. If no divisional or local pistons are present, the “ generals ” are usually centered underneath the manuals. In this category are found reversibles, MIDI couplers, expression pedal controllers, etc. If present, sometimes only the Great to Pedal reversible and Sforzando reversible are provided. Some toe studs serve unique functions that are not duplicated by any thumb pistons. Others merely duplicate the function of thumb pistons, but are provided for use by the feet in case the hands are too busy. In this position they are well separated from the general combination toe studs that are usually found to the left. When this is so, they are usually found underneath the lowest manual. They are even provided on some small organ consoles. When pressed again, that function is reversed (the Great to Pedal coupler is retired, for example). The SFORZANDO or TUTTI reversible is placed to the extreme right-- not easy to reach by mistake! The traditional manual-to-pedal couplers and the Sforzando or Tutti reversibles are most common, but there are many other functions possible: The combination may then be recalled by pressing either the thumb piston or toe stud with that number (General 1). Although 32 keys is the American standard, large organs may have 30, and many of the smallest electronic organs have 32. That combination can be recalled. The pipe organ was invented when someone decided to play a set of pan pipes with a keyboard instead of blowing into each pipe. The pipes were placed into holes on a box called a wind chest. AYHANCEVIK.COM/images_upload/files/canon-imagerunner-1025if-service-manual.pdf

Some of the earliest organs could be pumped and played by the same person. They were called portatives because they could be carried around by a strap over the player’s shoulder. According to paintings and stained glass windows, portatives were particularly popular with angels. It was handy to have a family member willing to do this boring job. From the beginning pipe organs were made in all different sizes. Large organs were built in churches from at least 1100. These instruments had many pipes and required several huge bellows to provide their wind. The job of a calcant, or bellows-pumper, was quite taxing. One got to rest during the sermon, but then would be wakened by a bell rung by the organist when it was time to start pumping again When a key is pressed, it opens a valve under a pipe or pipes. The wind enters the pipe, causing a tone that is constant in pitch and volume until the key is released. Both the attack and the release of the tone are controlled by the player. This is different from the piano, whose tone has a natural decay. Continuous tone is the organ’s most important characteristic. (The history of the organ has always been about an ongoing attempt to control wind.) In a mechanical action instrument long rods or “trackers” pull down the valves under the pipes.Today, many builders make mechanical action instruments. Obviously the keyboards must be close to the pipe valves or the action may be hard to play. Usually the keyboards and pipes are all built in a case with the pipes directly above and in front of the player. The best thing about mechanical action is that the player can feel the opening of the pipe valves and can make different kinds of attacks and releases by pressing and releasing the key slowly or quickly. Until electricity was discovered, all organs used trackers to connect the keys to the pipes. Today, many builders make mechanical action instruments. This means that the console can be separated from the pipes with no effect on the key pressure. Usually the pipes are in chambers,cases, or otherwise mounted in the room and the console is put in a convenient place. Since the console can be attached to the rest of the instrument by a cable, it is often movable. If it is far from the pipes, there may be a time delay between the pressing of a key and the sound heard by the player. Because the console is usually some distance from the pipes of electric action organs, the player can often hear the balance between the sounds of the divisions better than with tracker instruments. The number of keys on the manual keyboards varies somewhat, but the lowest note is always low C. Most American organs have 61 notes on the manuals to C above high C. Pedal keyboards are also different lengths, but low C is also the lowest written note. Some have 30 notes to F above middle C; others have 32 to G above middle C. The pipes are arranged in rows or ranks, according to these tone colors. To bring a rank of pipes into play, the organist pulls a knob or operates a tablet called a “stop.” (This term comes from the fact that pushing a knob in “stops” the pipes from speaking.) Some stops control two or more ranks, which blend to make one tone color. Stops may also be called “voices” or “registers.” Each stop on an organ will have a number that tells the pitch at which it sounds.The sound is made when the wind enters the foot of the pipe and is directed outward against the upper lip of the pipe mouth. This lowers the air pressure in the pipe, causing the wind to be sucked back in. Then the cycle starts again. This process causes the column of air in the pipe to vibrate. The number of vibrations per second, and therefore the pitch of the sound, is determined by the length of the pipe and whether it is open at the top or closed by a cap or stopper. (Stopped pipes sound an octave lower than open pipes of the same length. ) The tone color of the pipe is affected by its scale (ratio of diameter to length), the material from which it is made (wood or various metal alloys), and by modifications that can be made to its mouth or shape. Flues are divided into groups according to their tone colors. They represent organ sound and do not try to imitate any other instrument. They are usually made of metal and often appear exposed in the front of the organ. They come in many pitches and usually appear in every section or division of the instrument. They may be called Principal, Diapason, Montre, Octave, or Prestant. They come in every pitch level and appear in every division of the instrument. They are wider in scale than principals, and may be made of wood or metal. They may also be stopped and therefore half length. Harmonic flutes are double length with tiny holes in the middle of the pipe bodies. The air column thus divides in the middle, making the sound an octave higher than that of an open pipe. Flute stops sound like real flutes or like recorders. Flutes are called Flute (in whatever language and with various prefixes, such as “Hohlflote”), Gedeckt, Bourdon, and Pommer. A Quintadena is a stopped flute voiced to sound prominently the harmonic an octave and a fifth above the fundamental. It has a soft but unusual tone because of this. (Strange fact: a Stopped Diapason is actually a flute.) They are not nearly as common as flutes or principals. In fact some organs do not have string stops. They are usually called Viola da Gamba, Salicional, Voix Celeste. Any stop with “Celeste” in its name has a special function. This rank of pipes is tuned slightly sharp to cause beats with another similar rank at standard pitch. This causes an undulating effect, which was very popular with romantic composers. The Celeste rank must be used with its companion rank (usually Gamba) and not used in other combinations. Sometimes both ranks are found on one stop knob (usually with a II on it, showing that the knob pulls two ranks of pipes).These hybrids sound somewhere between string and flute tone and are usually called Gemshorn or Erzahler. They may also have celestes. The reed and shallot are inside the boot of the pipe. The sound is magnified by the resonator, which can be of metal or wood. Reed resonators come in many shapes and sizes, all affecting the tone of the pipe. The sound of reed pipes is pungent and distinctive, even when used with flues. The “Chorus” Reeds have cone-shaped resonators and add brilliance to full organ. Some have names like the brass instruments of the orchestra: Trumpet, Trombone, Tuba. Others are called Clarion, Posaune, Bombarde. Sometimes trumpet pipes will be mounted horizontally (called en chamade). If this stop is on high wind pressure it can be very loud and should be used sparingly. Chorus Reeds can be used for solos too. The oboe family has slim, conical resonators. Oboe tone in an organ is often a softer version of trumpet tone, and therefore a good oboe stop, called Oboe, Schalmei, Hautbois, or Fagott, can be used as a solo but will also blend with flues. The clarinet family has cylindrical resonators and are called Clarinet, Krummhorn (Cromorne), or Dulzian. Very short resonators make a buzzy reed sound like that of early wind instruments and have names that reflect this: Rankett, Regal, Zink. The Vox Humana is also a short-resonator reed and is usually used with tremolo. A large romantic organ will often have reeds called English Horn, Orchestral Oboe, or French Horn. The wind makes the reed vibrate against the shallot like the player’s breath makes the reed vibrate against the saxophone mouthpiece. It should be mentioned that pipes sounding upper harmonics must be tuned absolutely to the fundamental and not tempered. There are two types of stops which sound these harmonics: Mixtures and Mutations. They are usually octave- and fifth-sounding ranks of principal pipes that are made to give brightness to a combination in the low and middle registers and breadth in the upper register. Two or more ranks are controlled by one stop knob. The number of ranks is indicated by a Roman numeral. The stop may be called Mixture, Fourniture, Plein Jeu, Scharf, or Cymbal. The various ranks break back in different octaves so that high pitches are sounding in the low register and lower pitches in the high register. To hear this, put on a mixture stop by itself and play a scale. If the stop knob has an Arabic numeral on it, that number indicates the length of the longest pipe at low C on the keyboard.If it is made of principal pipes, it is usually called Quinte or Twelfth. If it is made of flute pipes it is called Nazard. It sounds two octaves and a pure major third above the written pitch. It is generally made of flute pipes and is found on the same manual as the Nazard because it is usually used with it. Sometimes the two are on one stop knob, which is called Sesquialtera. It may have a II on it because the knob draws two ranks of pipes. The Nazard and Tierce, together with flues of 8 and 4, produce a sound something like a clarinet. It is usually made of flute pipes and called Larigot. It adds further color and glitter to the Cornet sound. Other mutations are sometimes available, but are not nearly as common as these. There is no standard number of stops in these divisions, so one can’t tell how large an instrument is simply by the number of keyboards it has. The nice thing about having more than two manual keyboards is that tone color changes may be made simply by moving the hands to another manual instead of by changing stops. On many organs one can also couple a manual to itself an octave higher or an octave lower. It is generally the lower manual on two-manual instruments and the middle manual on three-manual organs. The other manuals can usually be coupled to the Great, so the loudest sounds are played on it. The Great can also be coupled to the Pedal. On two-manual instruments one will often find mutations and solo reeds on the Great also.It is so called because the sound of its pipes can be made to swell and diminish. Its pipes are housed in a box with shutters on one or more sides. These shutters are like large Venetian blinds that are controlled by a pedal. When the shutters are closed, the sound of the Swell division pipes is muffled. When the shutters are opened, the sound gets louder and also more brilliant. The Swell division often has more ranks in it than the Great. It can be coupled to the Great and to the Pedal.The sound of the Swell principal chorus is often brighter than that of the Great. If there is a set of strings (including Celeste) on the organ, it will be in the Swell.It is often called the Choir, and may be enclosed in a box like the Swell, in which case there will be another pedal, usually to the left of the Swell pedal, to operate its shutters. Many three-manual instruments will have a small Choir division, in a box, with some light flute stops, a color reed or two, and often a Gemshorn or Erzahler with Celeste. This division is intended to accompany the choir, to accompany solo effects on the Swell, and to provide soft, ethereal sounds for service playing. If the instrument is in a gallery, the pipes of the Positive division are often on the gallery rail at the player’s back. Then the division is called Ruckpositiv in German. The function of this Positive principal chorus is to play antiphonal effects with the Great and to add brightness when coupled to the Great chorus. If there is not a Cornet in the Swell, there will usually be one in the Positive. There is often a Krummhorn or other color reed as well. The Positive is used for bright solos and duets or antiphonal effects with the other manuals.