Technical Matters

In the first installment we discussed Wurlitzer Styles in general and the concept of chamber analysis. Before going on to discussing the layout and types of stoptabs on the console, which determines its specification, it might be good to review the concept of unification in organs. Traditionally, organs have been referred to as either straight or unified.

Church and classical concert hall organs are typically straight organs. Simply put, this means that each drawknob activates a completely separate rank of pipes. Thus, when you draw the Great Diapason at 8' and 4' pitches, you don't get the same rank played at the basic pitch and an octave (also called an eighth) higher. You actually are playing two separate ranks of pipes, both Diapasons, but probably of slightly different scaling and tonal quality. This adds somewhat to the complexity of the sound produced, and gives more "character" than would be heard if you used the same rank. This way of doing things on a classical organ may also have its roots in the Tracker Action Organ. This was the only type of action available two or three centuries ago and was totally mechanical in its operation. Using different ranks for different drawknobs was the only way to get various pitches at the same time on one type of pipe. In addition, in a totally straight organ, any rank is only available on one manual, though there are usually couplers that make all the ranks drawn on one manual playable on another. However, the advent of electricity and the electropneumatic action for organs changed all of this.

A unified organ uses a different approach in two ways. First, most ranks are available on a manual simultaneously at different pitches. The best example on a Theatre Organ would be the Tibia Clausa on the Great manual which might be available simultaneously at 16, 8, 5^1/3, 4, 3^1/5, 2^2/3, 2, 1^3/5, and 1 foot pitches. Second, most ranks are available on all manuals, and many are available on the pedal. The exceptions would be ranks with a very unusual or odd sound, like the Kinura, which are of little use on the Accompaniment or Pedal. However, they can be played there by means of couplers for an occasional and brief "offbeat" effect.

Early in its history, the concept of unification, also known as borrowing, was initially rejected by builders of straight organs as totally unacceptable and even dishonest. In the intervening decades the mood has softened a bit. It's not unusual to see classical organs by very reputable builders using at least a little unification, either by using the same rank at different pitches, or by placing that rank on more than one manual. Indeed, where either money or space are limited, one may find a church organ or classical "practice" organ with a very high degree of unification of its few ranks.

It's worth noting here that the earlier Wurlitzer Theatre Organs were not nearly as highly unified as their later products. It's a concept that was fully implemented only after several years of practical experience.

This concept of unification is also the reason that a 50 rank Classical Organ is not unusual at all, whereas a 25 rank Theatre Organ is considered large for its breed.