From: John Koerber, November 1998

Here are corrections and additions to the stoplist and modifications list for the Los Angeles Orpheum Wurli Style 240, Opus 1821.

1. (Correction) The Tibia unification on the Great at 2-2/3', 2' and 1-3/5' is a modification, not the original configuration for these pitches. These pitches were originally taken from the Concert Flute.

2. (Addition) To complete the new Tibia unification, a small extension chest was added in the Solo chamber.

3. (Confirmation) The added Post Horn rank, correctly identified as a modified Orch Oboe, is indeed on 10" wind, and is tremmed with all the rest of the Solo chamber manual chests except Tibia and Tuba.

4. (Addition) The additional Post Horn rank is controlled from what is now the "Kinura/Post Horn" stop, originally the Kinura stop. Post Horn or Kinura are alternatively selected using one of the additional toggle switches on the backrail. It's down for Post Horn On, up for Kinura On, with no way of selecting both.

5. (Addition) A photo of the console with a handwritten caption dated 1936 shows the added toggle switches on the backrail, as well as the present boxy incandescent lights for the music rack. But for the paint scratches, it looks today as it did then.

6. (Addition) The diaphones are metal, of the "smaller" size (6'+ offset chest). They are quite effective. On some days (maybe it's that the lift has to be up) the pedalboard resonates with some of the bass notes, and one gets the delightful feedback of feeling the 16' pitch of the pedal notes through one's shoes while playing.

The method of making the change to the EP relay (locally attributed to Ralph Sargent?) to effect the change in unification from Flute to Tibia is noteworthy because it is easily reversible, without damage, to the original Flute configuration.

Specifically, the area on the switch stack under the moving contact bars for these 3 adjacent pitches was overlaid with a single-sided printed circuit board etched with the same pattern of vertical contact strips as the original embedded-in-wood metal contact strips now underneath, undisturbed, and uncut. The new strips, facing the contact bars, were wired to the Tibia pipe wiring elsewhere on the relay, while the moving contact bars, coming from the note relays, require no changes in wiring. The left and right bearing-block ends of the contact bars are shimmed up to the proper height by virtue of their sitting on the circuit board itself, the board being as wide as the entire contact bar plus bearing blocks. And the screws that hold the bearing blocks in place also fix the circuit board in place, the board being under the bearing blocks. All quite ingenious, IMHO. And the added wiring includes some bow-tied spares, as do just about all the original cable runs in this organ.

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