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.
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