These comprehensive instructions are intended for owners of small roll-playing organs.  They were written by Hal O'Rourke, the American agent for Josef Raffin, and cover every aspect of organ maintenance. Although written for Raffin organs, the instructions are relevant to almost all roll playing organs where the roll is not contained in a pressure box.  The majority of the instructions are also relevant to keyless book-playing organs.

The instructions are designed for those owners who have little or no knowledge of organ tuning and maintenance, but who want to keep their organs in tip-top playing condition. Inexperienced owners should read through the instructions carefully before messing about with the organ, and do not attempt any adjustments unless you feel confident to do so.
 
 

MAINTENANCE AND ADJUSTMENT

The most common fault on all keyless organs is bad note repetition. This is usually caused by the tiny bleed holes in the mechanism getting gradually clogged up with dust. Because the deterioration is gradual it frequently goes unnoticed by the owner, but is usually painfully obvious to anybody else listening to the organ. The problem can easily be corrected by unscrewing the bleed screws very slightly, to expand the holes back to their correct size. If a note fails to play at the proper time or stays on continuously when it is not supposed to be playing, that problem also could be due to improper bleed screw adjustment. The Raffin test roll supplied with the organ is not suitable for accurate regulation of the bleed screws. This is because the repetition section of the roll is far too slow to provide a useful test of the organ's state of adjustment. A proper test roll will allow the organ to be cranked at the usual playing speed, allowing the adjustments to be made at the normal air pressure. I highly recommend the action test rolls available from Melvyn Wright. They provide two repetition speed tests, and give the organ a much better 'work out', and very accurate regulation is possible.

If the organ is not playing properly, check the following before performing any adjustments: If notes play when they shouldn't, be sure you have a tight seal between the paper roll and the tracker bar. Make sure the grooved roller is riding on the paper and doing it's job. If notes don't play when they should, be sure the holes in the paper align correctly with the holes in the tracker bar.
 
 

LOCATING THE BLEED SCREWS

On 20 note organs (both pipe organs and reed organs) the adjusting screws are under the front half (not normally opened part) of the hinged top. Remove the four wood screws and remove the entire top. Use the correct size screwdriver or you will damage the wood. You can now see the top of the valve chest and the adjusting screws numbered to correspond with the notation on the test roll.

ADJUSTING THE BLEED SCREWS - GENERAL RULES

If a note does not play, or some of the repetitions miss playing when cranking the test roll, turn the screw in (clockwise). If a note plays all the time, or fails to stop abruptly when the tracker hole is closed, turn the screw out (anti-clockwise). A half turn is a BIG adjustment. Normally only a quarter or eighth turn is required. I always remember where I started so I can return the screw to the original position if the adjusting does not seem to be having any effect. This usually means that you are adjusting the wrong bleed screw! If you are sure that you are adjusting the correct bleed screw for the note being played, and you need more than a minor adjustment, start from scratch as follows:
 
 

1. Back the screw out two complete turns or until the note will not play at all.

2. Place the continuous play (sustain) portion of the test roll sequence for that note over the tracker bar and disengage the roll transport so the roll will not move when you crank.

3. While cranking, slowly turn the screw in until the note starts playing. Stop turning the screw immediately when the note plays.

4. Turn the screw in an additional three quarter turn. Test the valve by playing the repetition sequence and make final adjustments if required using the general rules above.
 
 

VALVE CLEANING AND ADJUSTMENT

If the bleed screw adjustment doesn't correct the problem, check to be sure that the valves are operating freely. Take off the false front of the organ and look inside below the melody pipes and above the bellows. You will be able to see the bottom of the valve stems poking through holes in the alignment board. If you push up gently on the valve stem it should move freely a small fraction of an inch and fall back to rest freely. Occasionally, dust on the top of the alignment board gets into the tiny hole in the board and causes the valve to stick or operate sluggishly. A vacuum cleaner with a crevice tool almost always takes care of this problem. It's not a bad idea to vacuum this area occasionally as preventative maintenance, but be very careful not to touch or damage the valve stems. You can easily do more harm than good.
 
 

OILING THE CRANKSHAFT (REED ORGANS ONLY)

I have noticed that some of the new organs that I deliver are much harder to crank than mine. I recall that mine got somewhat easier to crank as it got 'broken-in', and it's logical that it should as the bellows leather 'finds' its permanent folds. The crankshaft is supported at two points. The point near the crank handle is a ball bearing which for practical purposes will last longer than the organ and only needs an occasional very light oiling. The other bearing is a wooden pillow block which requires periodic oiling. Use three or four drops of light machine oil (3-in-1) every couple of months or before you play for a long period. The felt under the block is to catch any excess. I carry a small can of oil and a few paper towels in my cart and you won't be sorry if you do the same.

When you crank there should be absolutely no up and down or side movement in the crankshaft at the pillow block bearing. There is a good deal of up and down pressure placed on the crankshaft by the bellows and it will be very apparent if the block is too loose.
 
 

ADJUSTING AND OILING THE CONNECTING ROD(S)

Your organ will have one or two wooden connecting rods that connect the crankshaft to the bellows pump. The wood is split so it will form around the shaft and is secured with two wood screws. These should be adjusted so they just hold the rod firmly and there is no extra motion or slack when turning. Do not tighten them too much or there will be excessive wear. If the crankshaft feels hot after you have been playing, the screws are either too tight or the bearing needs oiling. Occasionally, put one or two drops of 3-in-1 oil in the crack in the top of the rod and let it run down into the bearing surfaces for lubrication. There are access holes covered with a round brass disk on the side of the organ so you can adjust and oil the bottom bearing when necessary without dismantling the organ. The bottom bearings require much less oiling than the top because there is very little movement at this connection.
 
 

TUNING

Even with little or no knowledge of music you can easily tune your organ yourself with the aid of an electronic tuning meter (usually called a 'Chromatic Tuner'). These meters can be purchased from music shops starting at around £50. For the 20 note organ you will not need an expensive model, but you must be sure that the musical range that the meter will measure is sufficient to cover the lowest and highest notes on the organ. Most shops sell several models designed specifically for tuning guitars and these will not work. Take your organ to the shop with you or be sure that the meter can be returned or exchanged. Following is my recommendation on how to approach tuning for the first time.
 
 

TEST ROLLS AND THE 20 NOTE SCALE

Test rolls can either be marked with the note numbers (1 to 20), or with the actual names of the musical notes (C, C#, etc.), or with both markings. Where the roll is marked with the names of the notes, the pipes may not actually be tuned to the same pitch as that marked on the roll! This is because organs are very rarely tuned to concert pitch. Therefore a note labelled C on the roll could actually be tuned to D#, and so on. An additional confusion arises because of differences in the way Germans refer to the various notes of the musical scale (the Raffin is a German organ). In particular, A# is referred to as B, and B is referred to as H!  However, unless a pipe is way out of tune you will not need to worry about any of these complications because the tuning meter will tell you the true pitch of the pipe and all you will have to do is to adjust it until the meter indicates that it is exactly in tune. Once the organ is tuned correctly, you may want to mark the true pitch of each note on the test roll, for future reference. The correct scale for the Raffin organ is shown below. Organs from other manufacturers may be tuned to a different pitch.

1 F,  2 A#,  3 C,  4 D,  5 D#,  6 E,  7 F,  8 G,  9 A,  10 A#

11 C,  12 D,  13 D#,  14 E,  15 F,  16 G,  17 A,  18 A#,  19 C,  20 D
 
 

SELECTING PITCH

Some meters will allow you to tune to small differences in pitch for each note. This is indicated by a number 440, 442, 445, etc. The pitch that you select is not particularly important, but the pitch must be consistent throughout the organ. When I approach an organ that I have never tuned, I usually play through the entire test roll and record the pitch for each note. (This is also when I check the notes to see if any bleed screws need adjustment). If only a few pipes are out of step with the majority I select the prevailing pitch and the tuning job becomes easier. When I ask Mr. Raffin how the organs should be tuned, he laughs and says that he does it by ear. I doubt that this is completely true as I have seen meters around the workshop, but I have never been able to observe organs being tuned. Most new organs that I have measured seem to be tuned to around 445.
 
 

PREPARATION

Completely remove the hinged top of the organ by removing the screws. Also remove the protective bottom board which is screwed to the legs from the bottom. I have often tried to do the job without removing the bottom and waste a lot of time trying to get my hands into small places and usually end up removing it anyway. It's okay to lay the organ on it's side and it only takes a minute to remove the eight screws. This also allows you to dust the board.
 
 

TUNING THE BASS PIPES

The two pairs of bass pipes are in the top section under the cover of the organ which you just removed. Each bass note is doubled, which means that two pipes of different size play the same note simultaneously. Adjust the test roll so note number 1 plays and disengage the drive so the roll won't move when you crank. Plug one of the pipes with your fingers or a wad of soft cloth so it will not play. A piece of masking tape placed lightly over the mouth can also be used. Be careful not to get anything into the tiny slit where the wind escapes. It is not necessary to press the tape down over this slit, just paste it very lightly over the front of the pipe opening. Turn the crank and adjust the wooden stopper in the top of the other pipe until you have the correct note and pitch. The stopper will slide with some difficulty. Be careful not to put too much pressure on the pipe mounting points. Support the pipe with one hand and move the stopper with the other.

On the bass pipes I find that I usually do not need a tool. If I must, I use a pair of long nosed pliers with tape wrapped around the ends to pull the stopper out. Grab the stopper sideways (perpendicular to the long dimension of the pipe) at the narrow point on the stopper knob. With the pliers resting on the end of the pipe body, prise up gently being careful not to damage the pipe or knob.

To push the stopper in I prefer to use only my fingers, but if it is stubborn you can lightly tap it with a small hammer or other tool. I prefer to use one with a soft covering for obvious reasons. Usually the adjustment needed is slight and you will get the feel of how much movement is necessary with experience. It's useful if you can have someone crank while you adjust, but it is not essential.

After you have tuned the first pipe, move the masking tape and tune its mate to the same note. Finally check the tuning with both pipes playing together. A final minor adjustment is sometimes necessary. In this case I usually adjust the larger pipe.

Move the test roll to note number two and repeat the process.
 
 

TUNING THE ACCOMPANIMENT PIPES

These nine single pipes are underneath and are tuned in the same way as the bass pipes. It is especially important not to put undue pressure on the mounting points because these pipes are glued in place to a flat surface. They can be broken off much more easily than the other pipes which are set into round holes on tapered feet. You will find that you can easily reach these pipes and stoppers from the back by tipping the organ forward slightly.
 
 

TUNING THE MELODY PIPES

Except for very early models, all 20 note Raffin organs have nine pairs of 'doubled' melody pipes which are visible from the front of the organ. The latest models do not have two individual rows of pipes, but have one row of pipes that are actually two pipes back to back in one unit. For the purpose of this instruction I will refer to these twin pipes as if they were two rows of individual pipes.

Place a strip of masking tape completely across the openings of the front row of pipes so they will not play. Tune all of the pipes in the second row as discussed above.

Now remove the masking tape, back up the test roll to note number 12, and set the tuning meter aside. The final step is done by ear. This step is better demonstrated than explained in writing, but I will do my best. The goal is to tune each front pipe slightly sharper (higher note) than its twin. This produces the mellow wavering sound. If you tune the front pipe exactly the same as the twin the sound will be exactly the same, but slightly louder. From this point if you tap the stopper in the front pipe down while playing you will hear a wavering sound that gets faster and faster as the stopper goes further down, until the wavering stops and the pipes are simply out of tune.

You should adjust the wavering so it is pleasant. I usually try to set it about half way between the starting point (both pipes exactly the same) and the point where the wavering gets so fast you can no longer hear it. You will just have to experiment until you achieve a sound you like. Your goal is to have the speed at which the sound wavers (frequency) approximately the same for each of the 9 melody notes. This may sound confusing, but it is actually very easy to do once you get the feel of it. Once this is done the job is complete.

LOCATING THE BLEED SCREWS

On 31 note organs you can see the bleed screws by looking down into the organ from the normal playing position. Some can be adjusted fairly easily with a long screwdriver, while others require completely removing the top. The screw marked D stands for 'Dirigent', and controls the optional conductor figure if applicable. I should also mention that the tracker bar on the 31 note organ contains 32 holes. The first hole, which I refer to as hole number zero, controls this optional feature. Melvyn Wright's test roll has a sequence to test this valve.
 
 

TUNING

The tuning meter must have a range sufficient to measure the highest and lowest notes produced, and the 31 note organ has a considerable range. Make sure you get a tuner with a range of 7 octaves or greater (most have).
 
 

TEST ROLLS AND THE 31 NOTE SCALE

There has been a good deal of incorrect information available concerning the 31 note scale. The article published in the MBSI Technical Journal some time ago was incorrect on this point. I am told that the subsequent correction published several months later was also incorrect!! Test rolls can either be marked with the note numbers (1 to 31), or with the actual names of the musical notes (C, C#, etc.), or with both markings.   The correct scale for the 31 note Raffin organ is shown below. Organs from other manufacturers may be tuned to a different pitch.

Note: The first hole in the tracker bar controls the conductor figure when attached and is not used on most organs.

1 A#,  2 C,  3 D#,  4 F,  5 G#,  6 A#,  7 C,  8 C#,  9 D,  10 D#,  11 E,  12 F,  13 G,  14 G#,  15 A,  16 A#,

17 C,  18 C#,  19 D,  20 D#,  21 E,  22 F,  23 F#,  24 G,  25 G#,  26 A,  27 A#,  28 C,  29 C#,  30 D,  31 D#
 
 

TUNING THE BASS PIPES

There are five pairs of bass pipes in the bottom section under the organ. Each bass note is doubled, which means that two pipes of different size play the same note simultaneously.   After you have tuned the first pipe, silence it and tune it's mate to the same note. Finally check the tuning with both pipes playing together. A final minor adjustment is sometimes necessary. In this case I usually adjust the larger pipe.

Repeat the process with notes two, three, four, and five.
 
 

TUNING THE ACCOMPANIMENT PIPES

These ten single pipes are in the rear part of the main section of the organ and are tuned in the same way as the bass pipes.
 
 

TUNING THE MELODY PIPES

Organ models vary slightly in their melody pipe arrangement and you must first determine which of the first two ranks will be your primary as follows: If your first two ranks of pipes are nearly identical bourdon flutes, the front rank will be secondary and the rank closest to you while playing will be primary. If your front rank of pipes is significantly larger than the second rank, the front rank will be primary. If your organ has pan flute pipes as the first rank, they are primary. For the remainder of this section ignore the secondary rank. They will be tuned later. Place the test roll on note 16 and tune each of the three pipes (primary rank determined above, violin, and piccolo) to the correct note and pitch.

The violins are tuned by sliding the brass tab in or out in the slot. To pull the tab out I use a coat hanger wire with a very small hook bent on the end. Place the hook inside the pipe and pull the tab out by hooking it from the bottom. This will prevent scratching the brass by trying to grab it with a tool. It is also the easiest way I have found to adjust the large violins that are mitred and partially obstructed by the cabinet frame.

If you find that a violin pipe will not tune even with the brass tab pulled out all the way (even with the end of the pipe) you have several options. The easiest is to cover part of the top of the pipe. I have this problem on one of the violins in my organ, and I use a small piece of masking tape placed diagonally across one of the corners. I keep moving it to cover more or less of the opening until the pipe is in tune and then tear off the excess even with the pipe body. A more elegant solution is to replace the brass tab with a longer one that extends past the top of the pipe an amount roughly equal to the width of the pipe body. The sound can be adjusted by bending the tab partially over the pipe opening. If several of your violin pipes require this special treatment you have selected a pitch which is too low. Select a pitch which will allow you to tune the violins in the normal way and use that pitch for the entire organ.

Tune the piccolo pipes by removing the back access door. Early design piccolo pipes without wooden stoppers are tuned by slightly bending the metal tabs which extend over the opening at the top. Changing the angle of this bend changes the pitch. On later organs some of the piccolo pipes are glued in place to a flat surface rather than set into round holes on tapered feet. These pipes face the front of the organ. It is especially important to be careful when tuning these pipes. Do not put undue pressure on the mounting points because these pipes can be broken off rather easily. On organs with trumpet pipes the trumpet resonators must be removed so you can reach the piccolos. Remove the wood screw holding the resonator at the top and remove only the wooden resonator. It will slide easily off the base. Set them aside in order so you can get them back in the correct position. Do not get them mixed up.

Move the test roll to the next note and tune the three corresponding pipes. Repeat the process for the remainder of the notes. You will find that the numbering sequence starts in the centre of the rank and alternates outward toward both ends.
 
 

TUNING THE SECONDARY PIPES FOR CELESTE EFFECT

The final step is done by ear. This step is better demonstrated than explained in writing, but I will do my best. Rewind the test roll to note 16, the first melody note. You will now adjust each secondary pipe in relation to it's corresponding primary as follows:

The goal is to tune each secondary pipe slightly sharper (higher note) than its corresponding primary. This produces the mellow wavering sound. If you tune the secondary pipe exactly the same as the primary the sound will be exactly the same, but slightly louder. From this point if you tap the stopper in the secondary pipe down while playing you will hear a wavering sound that gets faster and faster as the stopper goes further down, until the wavering stops and the pipes are simply out of tune.

You should adjust the wavering so it is pleasant. I usually try to set it about half way between the starting point (both pipes exactly the same) and the point where the wavering gets so fast you can no longer hear it. You will just have to experiment until you achieve a sound you like. Your goal is to have the speed at which the sound wavers (frequency) approximately the same for each of the 16 melody notes. This may sound confusing, but it is actually very easy to do once you get the feel of it. Once this is done the job is complete.
 
 

TUNING THE TRUMPETS (TRUMPET ORGAN)

There are 19 wooden trumpet pipes in the trumpet organ. Sixteen associated with the melody pipes and three extra associated with the three highest pitched accompaniment pipes. The main accompaniment pipes play all the time but the three associated trumpets are controlled by the trumpet slider. When tuning these three trumpets you must cover the associated accompaniment pipe so it will not sound. I place a towel over a long wooden ruler and slide it down in front of the accompaniment pipe. The three trumpets are placed horizontally in front of the other trumpets, and when tuning it's difficult to tell which is playing. They are arranged as follows: The top pipe is note 14, the middle pipe is note 13, and the bottom pipe is note 15.

The trumpets are tuned by moving the wire sliders. Some are difficult to reach and I use a tool consisting of a wooden dowel with a small hole the size of the wire slider drilled in the end.

Hal O'Rourke

The Test Rolls mentioned in this article, are available from me.