SPECIFICATIONS

It is difficult to describe the Virtual Theater Organ in terms of conventional stop specifications since any stop can be placed on any division at any pitch merely by selecting it in a synthesizer 'combination'. The number of ranks that the synthesizers could produce is in the hundreds, but I have limited the size to a 'manageable' 25 ranks. Rank programs are duplicated in each of the synthesizers as the same ranks are available on all divisions. Rank programs are identical in each synthesizer ensuring consistent tonality. The current rank disposition by chamber follows:


  MAIN CHAMBER   SOLO CHAMBER
  Open Diapason   Serpent
  Horn Diapason   Posthorn
  Clarinet   Brass Trumpet
  Viole d' Orchestre   Tuba Mirabilis
  Viole Celeste   Solo Tibia Clausa
  Salicional   Tibia Clausa
  Viox Celeste   Solo String
  Liebliich Flute   Solo String Celeste
  Lieblich Flute Celeste   Orchestral Oboe
  Quintadena   Brass Saxophone
  Conert Flute   Kinura
  Concert Flute Celeste   Solo Vox Humana
  Vox Humana   Piano
  Chrysoglott   Xylophone (single/re-it)
      Glockenspiel
      Wood Harp
      Chimes
      Bass Drum
      Ride Cymbal
      Hi-Hat Open
      High Hat Closed
      Bell Cymbal
      Crash Cymbal
      Cow Bell
      Snare Drum Tap
      Snare Drum Roll
      Tambourine
      Castinets
      Tom Tom
      Triangle
      Roll (Persian) Cymbal
      Gong
       
       
  COUPLERS   ACCOMPANIMENT 2ND TOUCH   GREAT 2ND TOUCH
  Great Sub   8' Serpent   16' Serpent
  Great Unison Off   8' Tuba Mirabilis   16' Brass Trumpet
  Great Octave   8' Tibia Clausa   16' Tuba Mirabilis
  Solo Sub to Great   8' Piano    8' Tibia Clausa
  Solo to Great   Harp   Solo Sub to Great
  Solo Octave to Great   Snare Drum Tap   Solo to Great
  Solo Sub   Tambourine    
  Solo Unison Off   Castinets    
  Solo Octave   Cymbal    
  Accompaniment Octave   Hi Hat    
  Accompaniment to Pedal   Bell Cymbal    
      Triangle    
      Great Octave to Accompaniment    
      Solo to Accompaniment    
           

This specification does not include stop disposition for the manuals and pedals because combination pistons, not stoptabs, control registration. With the synthesizer 'combinations', any voice could apppear on any division at any pitch. Stoptabs on the horseshoe rail for manual voices are essentially dummy controls. The Second Touch divisions, traps and couplers are controlled through tablets.

The chamber placement of the ranks is fairly standard WurliTzer practice with a few exceptions. There are actually two Tibias in the Solo Chamber. One is breathy, comes from the Akai sampler and is available on the Solo Manual only. This is duplicated on the Great using the Korgs, and a second Tibia is available on the Great for ensemble combinations because it requires less polyphony. Although there are the two Tibias in the Solo Chamber, the second Vox is placed in the main, for accompanimental use. The Lieblich Flutes are essentially small Tibias.

Home

Background

Construction

Operation

Circuitry

Virtual Theater Organ Registration Basics-Families of Theater Organ Tone

Virtual Theater Organ Registration Basics-The Tibia/String Relationships

Virtual Theater Organ Registration Basics-Esemble Registrations

Virtual Theater Organ Registration Basics-The Polphony Problem

Virtual Theater Organ Music .mp3's

Email Me at steamrocks@yahoo.com

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