Year: 1888

page_text: A communication from ROMAINE CALLENDER, Professor of Music, and JOHN PIPER
MARTYN, broker, both of the City of St. Thomas, in the County of Elgin, in the
Province of Ontario, Canada.
1, ALFRED JULIUS BOULT of 323 High Holborn in the County of Middlesex, M.I.M.E.
do hereby declare the nature of this invention, to be as follows:-
The object of the invention is to design an organ in which the performer has
complete control of all the resources of the instrument and is enabled to produce
various combinations without any effort and without interrupting his performance;
and it consists, essentially, first, of a series of stops independently connected to the
mutes by mechanism so arranged that various musical combinations may be set
without interfering with the operation of the ordinary stops of the organ, in com-
bination with mechanism by which the stops forming the combination may be
simultaneously brought into action by the performer without any effort or break in
the continuity of the music; secondly, of two or more series of stops independently
connected to the mutes by mechanism so arranged that each series of stops may be
set for a different musical combination without interfering with the ordinary stops of
the organ, in combination with mechanism by which the performer can instantly
change the action from one combination to another without any effort or break in
the continuity of the music; thirdly, of a series of stops independently connected to
the mutes by mechanism so arranged that various musical combinations may be set
without interfering with the operation of the ordinary stops of the organ, in com-
bination with mechanism by which the stops forming the combinations may be
instantly brought into action and the ordinary organ stop which may at the time be
set, simultaneously dampened so that they will not interfere with each other or break
the continuity of the music; fourthly of one or more series of stops independently
connected to the mutes by mechanism so arranged that each series of stops may be.
set for a different combination, in combination with mechanism by which the full

page_text: :
power of the organ may be instantaneously secured by the simple movement of a
single stop, without interfering with the setting of the combinations; fifthly, of a
single stop connected by suitable mechanism to two or more mutes, so that the
adjustment of the said single stop shall bring into action any predetermined com-
bination sixthly of one or more series of stops independently connected to the mutes
by mechanism so arranged that each series of stops may be set for a different musical
combination and one or more solo stops independently connected to the mutes, in
combination with a damping-action so arranged that any solo stop if drawn can only
speak so long as the grand-organ knee-movement is not used, the knee-movement by
which the combinations are brought into action being arranged to simultaneously
operate the damping-action so as to close all the stops not connected with the com-
bination seventhly, of a divided swell shutter so arranged that each half of the
shutter shall be completely under the control of a single knee-swell, in combination
with stops by which the connection between the single knee-swell and each half of
the shutter may be instantly made or broken in order that the bass-swell or the treble-
swell may be. brought into connection independently or simultaneously with each
other and with the single-knee-swell; eightly, of a series of slides independently
connected to their respective mutes or mechanical movements, in combination with
mechanism by which the said slides may be independently or collectively operated
upon; ninthly, of a series of slides independently connected to their respective
mutes or mechanical movements, in combination with mechanism by which each
slide is independently connected to its respective draw-stop; tenthly, of a block
supported by a pivoted frame above a slide connected to a inute, and connected by
suitable mechanism to a knee-push, in combination with plungers suspended within a
block by mechanism connected to stops, so that one or more slides may be connected
to the said block for the purpose of bringing it within the control of the knee-push;
and eleventhly, of a crank-rod arranged in connection with a slide and operated by a
block pivoted on a draw-stop, in combination with mechanism arranged to elevate the
block clear of the rod.
Dated this 1st day of Mov 1000

page_text: 1, ALFRED JULIUS BOULT of 323 High Holborn in the County of Middlesex, M.I.M.E.
do hereby declare the nature of this invention and in what manner the same is to be
performed, to be particularly described and ascertained in and by the following
statement:
The object of the invention is to design an organ in which the performer has
complete control of all the resources of the instrument and is enabled to produce
various combinations without any effort and without interrupting his performance ;
and it consists, essentially, in providing a number of stops so connected to the
organ-action that they may be set into various combinations by the performer
before commencing to play; simple mechanism being provided by which the per-
former can instantly change the action from one combination to another without
any effort or break in the continuity of the music, substantially as hereinafter more
particularly explained.
In the drawings, Fig. 1 is a perspective view of this organ-action showing the parts
operated from the grand-organ knee-push.
Fig. 2 is an enlarged view of the adjustable combinations for the first and second
moveinents.
Fig. 3 is a view of the solo and damping actions.
Fig. 4 is a view showing the divided swell and automatic vox humana.
In the drawings like letters of reference indicate corresponding parts in the
different figures.
A represents a knee-push similar to the ordinary knee-swell B which this improved
organ is of course provided with.
Cis the grand-organ rod carried in suitable bearings on the front of the organ
and acted on by a spring D so as to hold it in its normal position as shown
in Fig. 1.
E is a bar pivotted on the end of the crank-rod F.
back of the instrument and has a crank G formed on it.
This rod extends to the
His a rolling rod carried in suitable journals as indicated and having a
crank I formed on its end; the cranks G and I being connected by the push-
The
bar J, so as to transmit the rolling movement of the rod F to the rod H.
rod H has three cranks K L and M formed on it, the crank K being connected
to the block N by the rod 0%; the crank L to the damping action P by the
rod Q, and the crank M is connected by the rod S to a block similar to the
block N on the opposite end of the instrument. Both blocks are supported above
the slides T by a pivotted frame U and in each block is fitted a number of
vertically-adjustable plungers V a separate plunger being provided for each
separate slide T and is arranged so that when allowed to drop below its block the
particular plunger so dropped will fall in front of a projection W formed on the top of

page_text: its slide; consequently when the block is caused to move back by the rolling action
of the rods F and H the plunger so dropped engages with its slide and as each slide is
suitably connected to a separate mute a separate set of reeds is brought into action by
each separate slide and only such slides as are connected to the blocks by their
plungers will move and only such sets of reeds as may be thus connected to the blocks
will be brought into action, except such reeds as may be brought into action by the
manipulation of the ordinary stops of the organ.
In order to produce the necessary rolling movement to the rods F and H the
pivotted bar E is arranged so that its end may be dropped in front of the end of
the grand-organ rod C which rod may be pressed against the end of the bar E by the
performer pressing against the knee-push A thus producing the necessary rolling
movement to the rod F and through its connection with the rod H a corresponding
rolling movement is imparted to the latter rod which latter rod being connected as
described to the blocks N and R the combinations controlled by the said blocks may
be instantly brought into action by the performer pressing against the knee-push A ;
the rods and H with their connections being so arranged that they instantly resume
their initial position the moment that the pressure is removed from the end of the
pivotted bar E.
Before describing how more than one combination is controlled through the knee-
push A, I shall first explain briefly the mechanism by which the plungers V are
operated.
In addition to the ordinary stops of the organ an independent set of stops is
provided, each stop being connected to a separate plunger but as all the stops are
connected to their respective plungers in the same manner it will be sufficient
for the purpose of this specification to describe the mechanism connected with
one stop.
The stop X has a wedge-shaped block Y formed upon or attached to its end. This
block is located behind a crank Z formed on or attached to the rolling rod a. An
arm is attached to the rod a and connects with a sticker c. This sticker is
connected to the weighted end of the pivotted lever d which lever is attached to the
plunger V by a flexible connection located on the opposite side of the pivot of the
lever. When it is desired to connect the particular plunger to its slide the stop ✗
is pulled out and its block Y pressing against the crank Z presses up the said crank,
which action rolls the rod a causing the arm 6 to lift the sticker c raising the weighted
end of the lever d thereby permitting the plunger V to fall below its block in front
of the projection W and thus forming the connection before described between the
block and slide.. When the stop X is pushed in the weighted end of the lever d
causes the said end to fall and instantly raises the plunger V out of connection with
its slide.
With the view of enabling the performer to arrange two sets of combinations
before commencing his performance, I form at the opposite end of the grand-organ
rod C, a notched recess e designed to receive the hooked-end of the bar which is
pivotted on the crank q formed on the end of the rolling rod h. The opposite end of
this rod has a crank formed on it connected as indicated to a crank i formed on
the end of the rolling rod j carried in suitable bearings and running parallel with
the rod H. Like rod H the rod j has three cranks k, m, and n; the crank k being
connected to the block o by the rod p; the crank mi to the damping section P by the
rod q, and the crank n is connected by the rods to a block similar to block o on
the opposite end of the instrument. Both blocks are similar to the block N and
its corresponding block and are carried by similar pivotted frames and each contains
corresponding plungers which operate in conjunction with the same slides, but as
the block N and its corresponding block on the opposite end of the instrument are
connected to the rolling rod H and the blocks and its corresponding block on
the opposite end of the instrument, to the rod j, the plungers in one pair of blocks
will have no effect on their particular slides during the period that their operating
rod is stationary, while the plungers on the other pair of blocks are brought into
action by the rolling of their particular rod.

page_text: With the view of instantaneously bringing one set of blocks and its connections
into action, and instantaneously throwing the other set out of connection with the
operating mechanism the following simple mechanism is provided for producing the
desired effect. A double crank-rod t is provided, one crank of which is connected
to the pivotted crank E by a piece of leather u or other flexible material. The other
crank t is connected by a similar piece of material v to a crank to formed on the end
of the rod x. A crank y is formed on the opposite end of the rod and is
connected by a piece of leather or other flexible material to an arm 2 connected
to a rolling rod 3 which has a projecting link 4 formed on it and extending below
the block 5 attached to the end of the push stop 6. The bar f is connected to a
similar push-stop 7 by mechanism similar to that just described extending from the
bar E to the push-stop 6, and the two push-stops 6 and 7 are connected together by a
pivotted bar 8 so that when the push-stop 6 is pressed in, the push-stop 7 is
simultaneously pushed out; and as the pushing in of the stop 6 causes the bar E to
drop so that its end shall be immediately in front of the end of the grand-organ
rod C. it follows that the bar f is simultaneously raised clear of the grand-organ rod C
and the combination controlled by the bar f is thrown out of action. By this
arrangement two or more combinations may be brought into action by the grand-
organ knee-movement and when the combinations are set one combination will
always be on, but may
be changed for another at any time by merely pushing in the
push stops or 7 which may be instantaneously done without breaking the continuity
of the music. The combinations may be entirely distinct and different from each
other depending of course upon the sets of reeds in the organ.
The louder combinations, if desired, may include the softer ones. If desired, the
adjustability of the combinations may be dispensed with; the manufacturer in such
cases setting the combination permanently, placing fixed substitutes for the plungers V
necessary to produce the combination desired.
The advantages of the arrangement by which the instantaneous changes of com-
binations may be effected will be appreciated by any musician.
In addition to the arrangement I have described for effecting the various com-
binations, simple means are provided by which the full power of the organ may be
instantaneously secured by the simple movement of a single stop; one stop being
arranged so as to operate mechanism by which the power of the organ will be reduced
to what combinations are set, while the other stop is connected with mechanism
by which the full power of the organ is thrown on, thus the player has complete
control of the instrument and is enabled to change the character of sound by one
motion. The mechanism for thus operating the full organ consists of two push-
stops 9 and 10. The push-stop 9 has a wedge-shaped block 11 which extends over
the crank 12 formed on the rod 13. This rod is suitably journalled and has a crank 14
formed at each end and each crank 14 is connected as indicated, to a pivotted bail 15
extending over the plunger-ends of the weighted levers d consequently when the
push-stop 9 is pressed in, its block 11 presses down on the crank 12 causing the rod 13
to roll and through its cranks 14 draw down the bails 15 so as to depress all the
levers d which have not already been set in some combination thus bringing the full
power of the organ instantaneously into action. The push-stops 9 and 10 are
connected together by the pivotted bar 16 in order that the push-stop 9 may be
thrown out by simply pressing in the push-stop 10; the parts described being so
arranged that the moment the push-stop 10 is pressed in the bails 15 are raised so as
to permit the weighted levers d to resume their initial position.
In order to enable the performer to arrange his combinations before commencing to
play, and at the same time to permit him to use the ordinary draw-stop movement
with the sole action alone, or with both, a damping-action is arranged by which any
stop if drawn will only speak so long as the grand-organ knee-movement is not used;
the knee-movement by which the combinations are brought into action being arranged
to simultaneously raise the damping action which allows the mutes to close. The
Ginstant that the knee-movement is released to dispense with the combinations, the
damping-action descends into connection with the mutes it has previously closed.

page_text: Any stop may be drawn out or pushed in while the damping-action is on or off, or
when it is coming into or going out of action.
As described at the commencement of this specification the damping-action P is
connected by the rod Q to the rolling rod H and is also connected to the rolling
rod by the rod 7, so that no matter which combination is being used, the action of
the knee-movement A raises the damping-action at the time that the particular
combination is brought into action.
As all the stops connected with the damping-action operate in the same manner I
will merely describe the mechanism of one stop showing how it operates the slides T
and is effected by the damping-action.
17 is a stop on which the wedge-shaped block 18 is pivotted.
19 is a bent wire connected to the rod 20 and extending below the block 18.
21 is a similar hent wire connected to the rod 22 and extending below the
block 18. Each of the rods 20 and 22, has two or more fingers 23, extending over
and resting upon the spools 24; a single spool being placed on each of the slide-
operating rods 25 which are connected to the bass and treble actions. When the
stop 17 is drawn out its block 18 is brought into contact with the bent wires 19
and 21 and these wires through their rods 20 and 22 and fingers 23 operate the
slide-rods 25 so as to cause them to move their respective slides T causing the
reeds they are connected with to be in a position to speak when acted upon by
the keys.
When the combinations I have described in the early part of this specification are
brought into action it is of course necessary that the reeds operated by the stop, 17,
should be damped, and it is with that view that the damping-action P is provided. This
action is connected to the blocks 18 by the links 26; consequently when the damping
action is raised as before described the blocks 18 will be clear of the bent wires 19
and 21 and the slides T operated by the stop 17 will be permitted to spring back and
damp their respective reeds leaving in action only such slides as are operated by the
combination.
With the view of enabling the performer to swell either the treble without the bass,
or the bass without the treble, or both treble and bass together, all from the same
knee-swell, what is termed an automatic divided swell is introduced. Many beautiful
effects are brought out by means of this important device and by the use of it an
organ becomes wonderfully improved in its expressive powers. With the old form
of swell the sole stop could never be properly managed as the swelling in the melody
made the accompaniment in the bass much too prominent and would frequently
prove so strong that the solo stop could not be heard; the soft stops borrowed from
louder ones by half-opening of the mutes are always objectionable, their tone being
uneven and indistinct as well as defective in pitch. The automatic divided swell
provides a proper accompaniment for either treble or bass solo work and enables
the performer to give perfect expression to a melody or prominent part. This
automatic divided swell consists in arranging a divided swell-shutter so that each
half of the shutter shall be completely under the control of the knee-swell stops
being provided by which the connection between the knee-swell and the shutter may
be instantly made or broken and either the bass-swell or the treble-swell brought into
connection with the knee-swell at the will of the performer.
27 is the bass stop and 28 the treble stop. 29 is a crank-rod suitably journalled
and one end of it resting on the block 31 attached to the stop 27 and connected
at its other end by means of a piece of leather or other flexible material to the
inner end of the crank rod 30 which has a weight 32 placed on it. The other
end of the crank rod 30 is connected by a strap 33 made of leather or other flexible
material, to the hooked finger 34 which, when the stop is pushed in, projects over the
end of the swell rod 35. The opposite end of this finger 34 is pivotted on the bell
crank 36 the other end of which is connected to the swell shutter 37 which covers the
treble swell.
When it is desired to swell the bass the stop 27 is drawn out pulling its
block 31 clear of the end of the crank rod 29 thus permitting the opposite end of

page_text: the said crank rod 29 to be pulled down by the action of the weight 32 which
weight will also cause the crank rod 30 to rock and through the strap 33 draw up
the hooked finger 34 clear of the swell rod 35. thus releasing the bell crank 36 and
allowing the treble swell 37 to close leaving the bass swell under the control of tie
knee-swell.
It
It will be seen that the mechanism between the treble stop 28 and bass swell
shutter is the same as that described between the bass stop and the treble swell.
follows therefore that by the simple adjustment of either the bass stop or the treble
stop the bass swell or the treble swell is instantly brought into connection with
the knee-swell or they may both be brought into connection together; the swell or
swells which is or are in action being completely under the control of the
performer.
A disadvantage in the use of the vox humana has hitherto been that if the full
organ was to be used immediately after the vor humana had been in use it was
necessary first to push in the stop controlling it to avoid the waste of wind and the
unmusical effect it produced with the full organ. This automatic voa humana may
be used with any appropriate solo stop and a change to full organ or other
combination can be made at once without any change of stops as the action of the
grand organ suspends the motion of the vox humana until the knee-movement
has been released, when, if the stop has been left out, the fan will immediately
revolve as before. This desirable effect is secured by the following simple
mechanism.
38 is the automatic vor humana stop on the end of which a wedge-shaped block
39 is fixed. This block when the stop is closed presses against the crank 40 and
holds the rod 41 on which the crank is formed in such a position as to tighten the
cord 42 thereby holding up the lever 43 which is pivotted at 44 and when the stop
is opened the cord 42 is released, and the lever 43 is drawn down by the action of
the spring 45 pushing down the sticker 46 which presses open the pallet 47 thus
putting into action the fan 48.
49 is a cord which connects the lever 4 with an arm formed on the rolling
rod H and 50 is a cord which connects the lever 43 with the rolling rod j. The
moment that the grand-organ is put into action the cords 49 and 50 are tightened
so as to raise the lever 43 when the sticker 46 is lifted from the pallet 47 which
will instantly close; consequently the vox humana is stopped the moment that the
grand-organ action is brought into play.
It will be noticed that the various parts of the action of this improved organ,
although controlled by one movement, are yet distinct from and independent of
one another. The mute connections are brought under control in such a manner
that without interfering with the regular stop action, any part of the new action
can work directly on the mutes without hindering the action of some other parts.
Of the action generally it will be a mistake to think that it is only suited for the
cultivated musician. While it is sure of his support it claims with confidence the
approval of every one using an organ, as the simple parts of the action give to
the most inexperienced player the power of producing effects at once striking and
pleasing in their character.
Having now particularly described and ascertained the nature of the said invention and
in what manner the same is to be performed, as communicated to me by my
foreign correspondents, I declare that what I claim is ;-
1. A series of stops independently connected to the mutes by mechanism so arranged
that various musical combinations may be set without interfering with the operation
of the ordinary stops of the organ in combination with mechanism by which the stops
forming the combination may be simultaneously brought into action by the performer
without any effort or break in the continuity of the music substantially as and for
the purpose specified.
2. Two or more series of stops independently connected to the inutes by mechanism
so arranged that each series of stops may be set for a different musical combination

page_text: without interfering with the ordinary stops of the organ, in combination with
mechanism by which the performer can instantly change from one combination to
another without any effort or break in the continuity of the music substantially as and
for the purpose specified.
3. A series of stops independently connected to the mutes by mechanism so
arranged that various musical combinations may be set without interfering with the
operation of the ordinary stops of the organ in combination with mechanism by which
the stops forming the combinations may be instantly brought into action and the
ordinary organ stop which may at the time be set simultaneously dampened so that
they will not interfere with each other or break the continuity of the music substan-
tially as and for the purpose specified.
4. One or more series of stops independently connected to the mutes by mechanism
so arranged that each series of stops may be set for a different combination in combi-
nation with mechanism by which the full power of the organ may be instantaneously
secured by the single movement of a single stop without interfering with the setting
of the combinations substantially as and for the purpose specified.
5. A single stop connected by suitable mechanism to two or more mutes so that
the adjustment of the said single stop shall bring into action any predetermined
combination substantially as and for the purpose specified.
6. One or more series of stops independently connected to the mutes by mechanism
so arranged that each series of stops may be set for a different musical combination
and one or more solo stops independently connected to the mutes in combination
with a damping-action so arranged that any solo stop if drawn can only speak so long
as the grand-organ knee-movement is not used, the knee-movement by which the
combinations are brought into action being arranged to simultaneously operate the
damping-action so as to close all the stops not connected with the combination
substantially as and for the purpose specified.
7. A divided swell-shutter so arranged that each half of the shutter shall be
completely under the control of a single knee-swell in combination with stops by
which the connection between the single knee-swell and each half of the shutter may
be instantly made or broken in order that the bass-swell or the treble-swell may be
brought into connection independently or simultaneously with each other and with the
single knee-swell substantially as and for the purpose specified.
S. A series of slides T independently connected to their respective mutes or
mechanical movements in combination with mechanism by which the said slides may
be independently or collectively operated upon substantially as and for the purpose
specified.
9. A series of slides T independently connected to their respective mutes or
mechanical movements in combination with mechanism by which each slide is
independently connected to its respective draw-stop substantially as and for the
purpose specified.
10. A block H supported above the slide T by the pivotted frame U and connected
by suitable mechanism to the knee-push A in combination with the plungers V
suspended within the block N by mechanism connected to the stops ✗ so that one
or more slides may be connected to the block N for the purpose of bringing it
within the contact of the knee-push substantially as and for the purpose specified.
11. A crank-rod arranged in connection with the slide T and operated by a block
pivotted on a draw-stop in combination with mechanism arranged to elevate the
block clear of the rod substantially as and for the purpose specified.
Dated this 22nd day of February 1889