PEDAL ACCOMP GREAT ORCH SOLO
S Tuba Mirabilis A 8 A 8 8 8t A 8
S Trumpet 8 8 8t 8
M Tuba Horn 16 8 16z 8 8t 16 8 4 16t 16 8 16 8 4
M Diaphonic Diap. 16 8 16t 8 16 8 8 8
? (Open Diapason?) B D B
M Horn Diapason A 8 A 8 C 8 8
S Tibia Clausa 16 8 8 8t 16 8 4 3 2 8t 16 8 4 3 2 8t 16 8 4
M Tibia Clausa 8 8 4 3 2 16 8 4 3 2 8 4
S Orchestral Oboe 8 8 8
S Kinura 8 8 8
M Clarinet 8 8 16 8 8t 8 8
S Saxophone 8 8 16 8 16 8 8
? (Krumet?) B B B B
S String 8 8 8 8 8
S String Celeste 8 8 8
M Viol d'Orchestre 8 16 8 4 16 8 4 2 16 4
M Viol Celeste 8 8 4 8 4 4
? (Salicional?) B B B B
S Oboe Horn 8 8
S Quintadena 8 8
M Flute 16 8 4 16 8 4 3 2 16 8 4 3 2 T 16 8 4 3 2 T
M Vox Humana 16 8 4 8 8
S Glockenspiel/Bells G B G B G B
S Sleigh Bells S S
S Cathedral Chimes C C C C
S Xylophone X X X X
S Marimba/Harp M H M H M H
M Chrysoglott C C C
Accomp to ... 4
Great to ... 8 16 -8 4
Orchestral to ... 8 8
Solo to ... 8 8 8t 8z 8 8t 8z 8 8t
Tremulants: Main, Solo, Tibia, Tibia, Vox, Diaphone/Tuba, Tuba Mirabilis
Pedal traps: Bass Drum, Kettle Drum, Snare Drum, Cymbal, Traps 1st/2nd
Accomp traps: Snare Drum, Tambourine, Castanets, Chinese Block, Tom-Tom,
10 Thumb pistons to each manual, Suitable Bass and release to each manual
11 toe pistons
(Note: "3" = 2-2/3'; "T" = 1-3/5'; "t"
= 2nd touch; "z" = pizzicato touch)
The blank tabs are shown in the order in which they appear on the stop
jams, and I've made a guess as to their possible meaning, based upon their
locations. The letters have the following meanings in each case:
A: 16 Bombarde (Tuba Mirabilis) or 16 Bass (Horn Diapason).
B: 8 Open Diapason, Krumet, or Salicional.
C: 16 Bass (Horn Diapason), or possibly 16 Double English Horn.
D: Possibly 8 English Horn, or else 8 Open Diapason (tab before Diaphonic).
Except for the "D" tab, all of the others make sense as listed
the addition of 16' bottom octaves for the Tuba Mirabilis and the Horn
Diapason. Only the "D" tab breaks the pattern: since it comes
Tuba Horn and Diaphonic Diapason, is was probably not meant to be an Open
Diapason. Wurlitzer placed the English Horn ("Post Horn") in
locations relative to the Tuba and Trumpet stops, so, again, it is a little
difficult to be sure about this one. Another argument against an English
Horn is that all of the other blank tabs "work" as shown above
not be candidates for the English Horn; it would seem strange to have
English Horn playable only from the Orchestral manual.
Ian McIver's note to TO-L (3/20/2000), containing the entire stoplist,
says that he *might* have missed 8' VdO and VCel stops for the Orchestral
manual when he copied the stops from the console in 1972.
Bon Smith wrote the following about this organ:
The Beacon Wurlitzer is a Style 260 special, installed in 1929. Special
because of the 4m console and four additional ranks: String Celeste,
Tibia (main), Horn Diapason and Tuba Mirabilis. There are two chambers
the proscenium, Main on the left and Solo on the right. There is a heavy,
curved plaster grille in front of the chambers, so heavy that an electronics
specialist on our crew termed it a "low-pass filter".
Access to the chambers is difficult: Walk to the back of the theatre,
the Mezz, up to the Balcony, up to the projection booth, up to the spotlight
booth on top of the projection room, out past the battery room and onto
hanging steel catwalk above the ceiling. Continue back toward the stage
area, down a 2 story ladder, across a short catwalk, down another short
ladder and you are (gasp) at the chamber. Ironically, just a few feet
on the other side of a concrete block wall, is the stairway and elevator
the dressing rooms. Ever wonder why the organ is still there?
The organ is an enigma. It is a large-scale Wurlitzer in an impressive
building, but is not particularly successful for several reasons:
1. The chamber position puts the sound back over the head of the organist,
which is unsatisfying for the organist. The organ does not begin to "bloom"
until about the 10th row back. It was best at the front of the balcony.
the grille muffled the organ to a great extent.
2. The specification and the unification were all quite bland. Possibly
organist at the time wanted an "orchestral" sound. It desperately
Post Horn and brighter voicing to please our generation. I made some minimum
voicing changes, but was hesitant to make changes that could not be
Billy Nalle was a good friend at that time. He came by often to play
check our progress. He often commented on the mild sound at the console,
I always responded, "You wouldn't believe how loud it is in the chamber!"
one day Billy trekked to the chambers with me. He sat neatly on the cleanest
walkway with an innocent smile, waiting for the organ to be played by
friend. When the sound commenced, it was incredibly loud. Billy's mouth
dropped open, both eyeballs nearly fell out, and he clapped his hands
his ears. He shook his head to indicate the organist should stop. I radioed
a signal down to the console. Billy left the chamber obviously shaken.
said he would never have believed the difference.
I should point out that in 1962, NYC did not abound in available Wurlitzers.
There was the Paramount, which was played for ATOE functions on rare
occasions and still maintained by Dan Papp, and Radio City Music Hall.
Brooklyn Paramount was still a theatre with very heavy, dirty grille
draperies, and the organ unused, as was the Brooklyn Fox with its disastrous
Wurlitzer (even worse than the Beacon). So when I "discovered"
organ, it was about the only one available. Plus it was convenient for
was never paid for working on the organ, but the work was appreciated
theatre manager and I had carte blance to the organ. I was helped by the
ATOE chapter to gather a volunteer crew. We all became good friends and
great times working on the organ.
Maybe you don't go back this far, but there was quite a lot of publicity
the organ in years past. Tom B'hend's Console magazine had many articles
the organ, even did a feature issue on the organ and theatre when the
was "reopened" by Gaylord Carter. Lee Erwin then began a series
movie programs, which brought him to the fame he now enjoys. Lee recorded
the music from his "The Eagle" score for Concert Recordings.
I still have a
couple of the tapes.
The chamber/rank arrangement:
MAIN (left chamber), left chest, from shades backwards:
Bourdon-Flute (to 16')
Diaphonic Diapason (to wood 16', no 32')
Tuba Horn (to 16')
(Sliding door between chambers)
SOLO, left chest:
Tibia Clausa (to 16')
Tuned Sleigh Bells
usual toy counter
A final memory: At one time, Allen Miller was trying to reintroduce the
Austin Quadruplex player for use with home theatre organs. As a publicity
stunt for one of the ATOE meetings at the Beacon, Allen temporarily hooked
his Quad to the Beacon organ. He had a roll specially prepared for the
stunt. Allen began playing "Roller Coaster" on the organ. At
time, I came running out from backstage, waving a paper and shouting at
Allen to come with me. Allen immediately got up from the console and ran
offstage with me, leaving the organ still playing and the audience stunned!
It was perfect! At the same moment, we had pushed the "up" button
orchestra elevator and as it rose, it revealed a big spotlighted sign
read, "QUAD IS HERE!". Wow!
(With many thanks to Ian McIver and Bon Smith!)