73-Note Rohrflote Compass

The console I have from Reuter opus 638 was oringinally designed to control an organ smaller than the one I am now building.  I am using the wiring originally intended for a Dulciana to play my new Rohrflote.  I realized early on that the original Dulciana was missing the bottom 7 notes.  However, when I began working in the console, I realized that the top octave (notes 62-73) was also missing.  At 4' pitch the top octave broke back an octave.  I was disappointed to figure out that I would only be able to use 54 of the 73 Rohrflote pipes I bought.

As I was removing the old pedal contact assembly I decided to use it for parts.  I carefully removed fourteen the silver contact wires and cleaned them up (seven contacts for each of two manuals).  Careful inspection of the console revealed that holes were already drilled for the contacts when it was built and there was space in the wire channel for the extra wires.  There were even holes drilled in the slider that shifts all the contact wires into position.  All I had to do was carefully insert the contact wires through both holes, and then run some wire down to the new junction boards.  Click on the link below the picture and go to the complete album.

From 73-Note Rohrflote

Next, I turned to the top octave.  All I had to do there was cut the wires that connected the top octave to the octave just below it.  I found enough left-over wire to use the proper color code for notes 62-73 and ran that down to the new junction boards as well.  Note the original cotton-covered wire bundled with the new PVC-covered wire that I added.

When I went to test everything, my heart sank.  I use a spare Direct Electric pallet magnet to test my circuits, rather than bother with winding a chest and getting out pipes.  I hooked it up, played the lowest note, nothing.  I played the second note, nothing.  Third note, nothing.  In frustration, I played the third note three or four more times and sure enough, the magnet fired.  I went back to the first note, played it a few times, eventually it fired too.  Then I remembered some advice I read on the Organ Forum:  Notes that play intermittently, or after repeatedly pressing the key usually indicate dirty or corroded contacts.  Repeated playing got each an every circuit to fire!  Fortunately, the contact cleaner arrived in the mail today. 

This Rohrflote expansion is very exciting for me because I can now draw the 4' Rohrflote and play it down an octave to contrast with the 8' Gedeckt on the other manual.  Also, the 2' Rohrflote is the only 2' stop on the Great and I will be very glad to have the top octave up there!

Cleaning the Keys

For those of you visiting from the Organ Forum or DIYapason list serve, here is the picture of my yellowing keys.  Sorry for the slightly blurred picture.  The lighting in my workshop is not great for taking photos.  However, you can still see the discoloration around the edges of the keys, and the relatively original color at the back of the key surface where it was covered by the felt.  Click on the image to see it in its original size.  I doubt my key tops are ivory, but possibly Ivorene??  What is the best and safest way to clean and brighten them?  Please feel free to comment here or on the respective groups if your advice would be helpful to others.  Thanks!!

Preparing for More Pedal Stops

Earlier this fall I got the pedal contact assembly from Reuter Opus 1483 from Tim Bovard in Arkansas.  This will replace the original 5 stop assembly in my console and will allow me to have  up to 12 pedal stops including the 8' Dulciana, 4' & 2' Gedeckt, and a 16' Dulzian (if I really want it!).  I also bought a stop tab rail almost identical to mine from Bruce Ioppini in California.  That will provide matching stop tabs and other spare parts for the additions. 

I have removed all the old wiring from the contact assembly and installed new color-coded wiring.  I have also modified the console a bit to hold the bigger assembly.  I put in new mounting blocks, and I had to cut a 1/2" rabbet in one of the boards holding the two sides of the console together.  Now I won't be able to put the back wood panels on the console.  I was planing on leaving them off anyway, because they would just block the sound from the 16' Bourdon.  All I need to do now is wire it to the new Peterson junction pins I am putting in the console and add the stop tabs.  Click on "From Pedal Contacts" below to see more pictures.

From Pedal Contacts

Oboe Swell Complete

I finished modifying the swell shade frame and moved on the box itself.  I built the support frame using pocket screw joinery.  This was my first endeavour using this joinery, and I love it!  Joints are clean and sturdy.  Completed frame is pictured.  (Click on "From Swell Box" in blue letters below to see more pictures.)  I then mounted the shutters in place.  I made the side panels out of 3/4" plywood.  All the visible panels are oak, the top and rear are premium pine.  The lower front panel and the back panel are wider than the 4' wide plywood, and wanted the grain to run vertically.  I used the pocket screws and pipe clamps to glue up two pieces of plywood side by side to make these panels.  I used threaded wood inserts and a bolt through the frame to hold the panels in place.

From Swell Box

Next, was applying oak veneer to almost everything.  The shutters and their frame work were originally painted flat black.  Because the swell will be prominently visible, I want it all to be oak, matching the console and other case work.  I removed the individual shutters and sanded all surfaces.  The shutters' framework needed to be planed and sanded to ensure a smooth, even surface for the veneer.  Most of the veneer came in paper backed 4x8 sheets.  I cut them very carefully so there wouldn't be any seams in the grain showing.  I used two-part epoxy for the adhesive.  I had to work very quickly, as this product gave 3-5 minutes of open working time.  I don't have any pics of applying the epoxy because I had to work so fast.  I will say, an old credit card makes an excellent application tool- makes a smooth, uniform layer of epoxy.  The veneer was clamped in place and allowed to cure for 24 hours (pictured above).  That cure time really drug the process out, but I wanted to be sure I had a good strong bond.  When the broad sides were done, I was able to apply the iron-on edge veneers.

I decided to paint the interior with a black, oil-based enamel paint.  I am hoping that the hard paint will help reflect sound out more than bare wood.  Plus, it looks more finished as well.  Next, I added some simple crown moulding to the top to dress it up just a bit.  None of the woodwork in this whole project is ornate or frilly, but it really needed something up there.  Then I counter sank a nylon washer at the bottom of each shutter to reduce the friction of the rotating shutters. 

Finished swell box is pictured here.  All that remains to be done is filling in a few nail holes with wood putty, and of course staining the exterior.  However, I think staining will wait until I am ready to refinish the console and one other decorative panel.  And, the mechanical linkage to the swell shoe is under construction, but I will give that its own post later.