2006-06-14 - Reproduction of Wurlitzer Ad in Theatre Showcase (Photograph by Eric Schmiedeberg/Database Manager)
2007-03-23 - Identified through on-line information from James R. Stettner. -- Style H. -Database Manager
2019-01-28 - Updated by Eric Schmiedeberg, who has heard or played the organ. <br> <br>This organ was the second Wurlitzer where Portland organist Glenn Shelley had a hand in its design. The presence of the rare (for Wurlitzer) Krumet rank is there--and another interesting digression from Wurlitzer practice for this size of organ--a Quintadena. The first \"Shelley Special\" Wurlitzer was the MacDonald Theatre 3/10 (single-rail console) in Eugene (opus 1003). This time the console is a double-rail 3-manual type.<br><br>A note about the Quintadena in the Wurlitzer tonal scheme: This rank is crucial to the truly authentic Wurlitzer sound in instruments over 13 ranks or so. Many theatre organists and theatre organ builders avoid them. However, I have found that they impart a great \"Hammond Jazz Organ\" sound to the Tibia chorus in Wurlitzers I have played and add interesting color to Tibia Clausa/color reed registrations. Gus Farny and Tiny James used them a lot to good effect, I think. Farny was a demonstration organist for Wurlitzer and his records exhibit the sounds that set Wurlitzer apart from the competitors. The Egyptian Quintadena is quite nice.<br><br>I have played the Egyptian Wurlitzer numerous times and did some major running down and fixing of dead circuits, murmurs and ciphers througout the organ. Luckily, the organ was built with brass-plug-adjustable magnets, so dead magnets were not an issue--unlike the bakelite \"black cap\" types.<br><br>I also overhauled the Pedal contact rail with new blocks and wiring as the original had gotten water damaged. This was a \"stop-gap\" measure to get things going again in a reliable way until the old cable and new cable for the Pedal could be joined by a union board. Along this line, I also went through all of the relays, switches and keyboards with contact cleaner. Bingo! She started to wake up! For around ten years or more the organ had only been used for Christmas concerts, really.<br><br>Tragically, the piano in the orchestra pit had suffered major water damage. It could not be saved. The player action itself was up high enough in the piano to avoid damage. That was salvaged.<br><br>As is the case with a few of the \"Shelley Specials\", the Egyptian organ was built without some of the tuned percussions normally found on a Wurlitzer of its size. The Egyptian was installed without a xylophone and set of tuned sleigh bells. This is exactly like Shelley\'s first Wurlitzer example at the MacDonald in Eugene.<br><br>The Egyptian organ definitely exhibits the qualities that frequently show up in Wurlitzers of its vintage. The Tibias are sweet and take trem nicely. Before 1927, Wurlitzer\'s Tibias got more hands-on attention by their voicers. -Database Manager
2019-01-28 - Updated by Eric Schmiedeberg, who gave this as the source of the information: The Wurlitzer Theatre Organ Installations List--Judd Walton--1972. <br> <br>Technically speaking, this instrument would be best described as a Style H 3M Special, according to Wurlitzer\'s model line and terminology. Many times the organ descriptions in the shipping list are very general and not terribly helpful in \"dialing in\" just what would be going on with a given instrument design-wise. My model description is much more in keeping with what is really going on with this instrument. -Database Manager
2019-02-06 - Updated by Eric Schmiedeberg, who gave this as the source of the information: I played and worked on this instrument many times.. <br> <br>This is the second Wurlitzer that Portland-area organist Glenn Shelley had a hand in designing. Like the first one at the MacDonald Theatre in Eugene, Oregon, it contains the signature Krumet rank. That voice is rare in Wurlitzers below 26 ranks. It also contains a Quintadena, which is also unusual in a Wurlitzer of this size. These were usually found in Wurlitzers of 14 ranks or more. As far as I could tell, the Egyptian Quintadena was designed to provide color to the Tibia in that it provides the \"Tibia Twelfth\" sound to that rank. The Quintadena usually serves to add more color to Tibia/color reed combinations as well. It does here, too. However, its main role is with the Tibia in this instance, it seemed.<br><br>Please refer to organ ID 57050 for a run-down of the known \"Shelley Special\" Wurlitzers. -Database Manager
Original document from Eric Schmiedeberg. Source: Stoplist taken from the console 2019-01-11
Coos Bay, OR
Egyptian Theatre
Organ by The Rudolph Wurlitzer Co.--Opus 1126--1925--Style H3M Special--As built
PEDAL GREAT
16' Tuba Profunda 16' Tuba Profunda
16' Diaphone 16' Contra Viol TC
16' Bourdon 16' Bourdon
8' Harmonic Tuba 8' Harmonic Tuba
8' Diaphonic Diapason 8' Diaphonic Diapason
8' Tibia Clausa 8' Tibia Clausa
8' Cello (Viol d' Orchestre & Viol Celeste) 8' Orchestral Oboe
8' Quintadena 8' Krumet
8' Flute 8' Violin
4' Octave (Diapason) 8' Violin Celeste
16' Piano 8' Quintadena
Bass Drum 8' Concert Flute
Kettle Drum (Bass Drum roll) 8' Vox Humana
Crash Cymbal 4' Harmonic Clarion
Cymbal 4' Octave
4' Piccolo
4' Viol
4' Octave Celeste
ACCOMPANIMENT 4' Flute
2-2/3' Twelfth (Flute)
16' Contra Viol TC 2' Fifteenth (Violin)
16' Vox Humana TC 2' Piccolo (Flute)
8' Harmonic Tuba 1-3/5' Tierce (Flute)
8' Diaphonic Diapason Cathedral Chimes
8' Tibia Clausa Marimba
8' Orchestral Oboe Harp
8' Krumet Glockenspiel
8' Violin Bells (reiterating Glock.)
8' Violin Celeste Chrysoglott
8' Quintadena
8' Concert Flute
8' Vox Humana
4' Piccolo
4' Viol SOLO
4' Octave Celeste
4' Flute 16' Tuba Profunda
4' Vox Humana 16' Bourdon
2-2/3' Twelfth (Flute) 8' Harmonic Tuba
2' Piccolo (Flute) 8' Diaphonic Diapason
16' Piano 8' Tibia Clausa
8' Piano 8' Orchestral Oboe
4' Piano 8' Krumet
Mandolin ++ 8' Violin
Marimba (reiterating Harp) 8' Quintadena
Harp 8' Flute
Chrysoglott 4' Octave
Snare Drum 4' Piccolo
Tambourine Cathedral Chimes
Castanets Marimba
Chinese Block Harp
Tom Tom (single-stroke Snare Drum w/ muted snare) Glockenspiel
Sleigh Bells Bells
BACK RAIL TOE STUDS
ACCOMPANIMENT SECOND TOUCHES Pedal Combos 1-3
Surf
8' Harmonic Tuba Steamboat Whistle
8' Diaphonic Diapason Fire Gong (reit.)
8' Tibia Clausa Horse's Hooves
Cathedral Chimes
KEY CHEEK BUTTONS
GREAT SECOND TOUCHES
Door Bell
16' Tuba Profunda Bird
8' Tibia Clausa Auto Horn (klaxon type)
8' Krumet Siren
TREMULANTS SWELL PEDALS
Main Main
Solo Solo
Vox Humana General*
Tuba Crescendo**
PIANO-STYLE PEDALS
1st Touch--Snare Drum Roll/2nd Touch--Bass Drum & Tap Cymbal
1st Touch--Sfortzando--All ranks/2nd Touch--Adds all tuned percussions
--Affects Great and Pedal--
SWELL COUPLERS COMBINATION ACTION
Main Pedal--Toe studs 1-3
Solo Acc.--PP/P/MF/F/FF & 1-5
General Great--P/MF/F/FF/FFF & 1-5
Solo--1-6
BLOWER
5 Horsepower Spencer Turbine Co. Unit--Located next to Solo Chamber
*Fitted with "Piano emphasis" trigger contact. When swell pedal is depressed far
enough, the trigger activates a second set of magnets in the Piano causing the
hammers to strike the strings harder.
A Piano sustain stud switch is also on the General Swell
**Crescendo affects Great and Pedal
CHAMBER ANALYSIS
MAIN CHAMBER--HOUSE-LEFT--All manual chest ranks on 10"/Shutters, Relays, Switches--12"
16' Flute--97 pipes
8' Violin Celeste--73 pipes
8' Violin--85 pipes
16' Diaphonic Diapason--85 pipes
8' Krumet--61 pipes
Chrysoglott--49 notes--12" wind
Relays Unit and 2 Switch Stacks
SOLO CHAMBER--HOUSE-RIGHT--All manual chest ranks on 10"/Shutters & Percussions--12"
Vox Humana on 6"/Tuba on 15"/Effects--12"
8' Vox Humana--61 pipes
8' Orchestral Oboe--61 pipes
8' Tibia Clausa--73 pipes
8' Quintadena--61 pipes
16' Harmonic Tuba--85 pipes
Marimba/Harp--49 notes
Glockenspiel/Bells--30 notes
Cathedral Chimes--25 notes
All non-tonal percussions
All sound effects
RIGHT SIDE OF ORCHESTRA PIT
Upright Piano--Wind pressure unknown--Probably 12" to 15"
++Mandolin effect affects notes 25-88. Derived through strips w/ metal tips being laid
on the Piano strings.
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