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Full text of "Illustrated descriptive list of the Geo. Woods & Co.'s parlor organs."

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1877 



GEORGE WOODS & CO. 

Factories and Offices, Camtridgeport, Mass., U. S. A. 

WAREROOMS, 

608 lATasliington Street, Boston, Mass. 

T2 Adams St., Chicago, 111. 




s ig 'Sy®.'s fcrlor wrgans, 



J^'/OIi nearly a generation the manufacturers of these Instruments 
•^' have devoted, themselves to the development and perfection of 
the Heed Oryaii, and to the rendering it the valuable and at- 
tractive addition it now is to the Home, the Sanctuary, and the 
Concert Boom. 

Their labors have been devoted particularly to the increase m 
the scope of the instrument by the introduction of 

BEAUTIFUL SOLO STOPS. 

To improving the Quality of Tone by radical changes in the 
construction of the instrument, and by giving the greatest care to the 
voicing and tuning of the reeds ; to endeavors to have the exterior 
conform to the iynprovements made in the musical portion of the instru- 
ments by devising the MOST ELEGANT DESIGNS OF CASES, 
and, above all, to the establishment of a standard of workmanship 
that should be higher than anything ever before produced in their 
line of business. 

For Thorotigh Workmanship and Elaborate Finish 
of every detail of construction they have established a reputation that 
is most widely and favorably known. Nothing that ingenuity could 
devise, labor accomplish, or capital procure has been omitted in their 
endeavors to acquire and sustain this reputation ; and the inspection 
and criticism of all interested in music is respectfully invited to the 
latest styles of their Instruments, as set forth herein. » 



THE HEJsTRY FRAJSTCIS du POJTT 

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1877 



GEORGE WOODS & CO. 

Factories and Offices, Cambridgeport, Mass., U. S. A. 

WAREROOMS, 
608 'yyashington Street, Boston, Mass. 

72 Adams St., Chicago, 111. 



Great numbers of low priced instruments have been sold at figures ranging 
from one hundred to one hundred and fifty dollars ; but it is believed by Geo. 
Woods & Co. that many of such organs hitherto sold at these prices have been 
constructed upon erroneous principles, inasmuch as in order to produce an in- 
strument that could be sold at a low figure, and to compete with other makers in 
appearance and style of case, the quality of the work in the actions and interior 
has been greatly cheapened and deteriorated, as has also the quality of the tuning 
and voicing. It is very easy to cheapen an organ a few dollars in the tuning, and 
to rob the action work and material to a like extent, in order to admit of a like 
amount being expended in the construction of a large, showy, and oftentimes 
flashy, case ; but such a proceeding, while it often results in a case being in poor 
taste and out of harmony with the musical capacity of the instrument, will most 
surely result in the production of such a quality of tone as will be most distaste- 
ful to the educated and refined musical ear, and will as surely eventuate in the 
causing of much annoyance, trouble and expense to the purchaser, by reason of 
the inferior construction of the action work. 

Numbers o, i, 2, 3, 4, 5, 16, 17, and 18 are in the same pattern of Case. (Se&next page.) 
No. 0. — One Set of Reeds, Four Octave, Knee Swell. 

No. 1. — Two Sets of Reeds, Four Octave, Knee Swell. One Stop. 
(Principal.) 

No. 2. — One Set of Reeds, Five Octave, Knee Swell. One Stop. (Forte.) 

No. 3. — Two Sets of Reeds, Five Octave, Knee Swell, and Grand Organ. 
Seven Stops. (Flute, Diapason, Melodia, Viola, Principal Forte, Diapason Forte, Grand 
Organ.) 

Uo. 4. — Three Sets of Reeds, Five Octave, Knee Swell, Grand Organ and 

two Solo Stops. Eleven Stops. (Flute, Viola, Melodia, Diapason, Principal Forte, Diapason 
Forte, Celeste, Concert Flute, Solo Forte, Grand Organ, Tremolo. ) 

No. 5. — Three Sets of Reeds, Five Octave, Knee Swell, Grand Organ, and 
Sub Bass. Eight Stops. (Flute, Viola, Melodia, Diapason, Principal Forte, Diapason 
Forte, Sub Bass, Grand Organ.) 

No. 16. — Three Sets of Reeds, Five Octave, Knee Swell, Grand Organ, Sub 
Bass, and Octave Coupler. Nine Stops. (Flute, Viola, Melodia, Diapason, Principal 
Forte, Diapason Forte, Sub Bass, Grand Organ, Octave Coupler.) 

No. 17. — Four Sets of Reeds, Five Octave, Knee Swell, Grand Organ, Two 
Solo Stops, Sub Bass, and Octave Coupler. Twelve Stops. (Flute, Viola, Grand Organ, 
Melodia, Diapason. Celeste, Concert Flute, Tremolo, Solo Forte, Sub Bass, Octave 
Coupler, Diapason Forte. 

No. 18. — Two Sets of Reeds, Five Octave, Knee Swell, Grand Organ, Tremolo, 
and Solo Stops. Ten Stops. (Melodia, Diapason, Tremolo, Viola, Dolcan, Grand Organ, 
Celeste, Concert Flute, Principal Forte, Diapason Forte.) 



The following we believe to be the most desirable Organs ever offered 
at such low prices, and we ask particular attention to their beautiful quality 
of tone, evenness of scale, and the remarkably fine finish of all the action 
work. The cases are thoroughly made and well finished, in good taste, without 
any meretricious ornamenting, or the use of sawdust carvings, &c. 




Style 17. 



DESK ORGANS. 

These Instruments combine a thoroughly appointed Desk and Cabinet 
with an ordinary instrument, the desk serving for the case of the organ, thus 
economizing expense and space. The case is veneered with variegated walnut 
and elegantly finished, both on front and back. The top of the organ shutting 
down forms a writing desk, covered with enameled cloth ; and there are three 
drawers, three cabinets, with book-racks, paper-racks, and pen-racks, with re- 
volving cover ; the whole locked or unlocked with one movement of the key. 

These ifistniments are particularly recommended for the use of Teachers and 
Schools, as the expense of the ordinary teacher'' s desk can be avoided. 




Style 30. 

Styles 30, 31, and 33 are in the same pattern of Case. 
No. 30. — One Set of Reeds, Four Octave, Knee Swell. 
No. 31. — Two Sets of Reeds, Four Octave, Knee Swell. One Stop. (Principal.) 

No. 33. — Two Sets of Reeds, Five Octave, Knee Swell. Four Stops. (Flute, 
Viola, Melodia, Diapason.) 

4 



ORGANS IN JET AND GILT CASES. 

In the following styles the cases are elegantly finished in jet throughout, with 
gilt ornamentatien on front and end panels, and fall. These styles furnish very 
ornamental and attractive cases at very reasonable figures. 



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Style 87. 

Styles 83, 84, 85, 86, 87, and 88, are in the same pattern of Case. 

No. 83. — Five Octave, Seven Stops, Knee Swell, and Grand Organ. Stops 

same as in Style 3. 

No. 84. — Five Octave, Eleven Stops, Knee Swell, Grand Organ, Tremolo, and 

two Solo Stops. Stops same as in Style 4. 
2Jq^ 35^ _ Five Octave, Eight Stops, Knee Swell, Grand Organ, and Sub Bass. 

Stops same as in Style 5. 
jJq_ gg_ — Five Octave, Nine Stops, Knee Swell, Grand Organ, Sub Bass, and 

Octave Coupler. Stops same as in Style 16. 

•^Q gy^ _ Five Octave, Twelve Stops, Knee Swell, Grand Organ, Tremolo, Sub 
' Bass', Octave Cou-pler, and two Solo Stops. Stops same as in Style 17. 

No. 88. — Five Octave, Ten Stops, Knee Swell, Grand Organ, Tremolo, and 

Solo Stops. Stops same as in Style 18. 



PRICES. 

It has been the determination of Geo. Woods & Co. to construct the 
best and most perfect Instrument of its class in the world. All the material 
used by them is of the finest quality, selected with scrupulous care, and the 
workmanship is of a very high order. The reputation of the members of the 
firm as successful inventors, and mechanics of great practical skill, enables them 
to secure the aid of assistants of great ability, and no pains or expense whatever 
are spared in producing such a fine quality of work as shall cause it to rank 
far above those productions which have hitherto been regarded as first-class. 

They have the very best facilities for manufacturing on the largest scale. 
Their many years of practical experience, and extensive capital are of great 
advantage to them, enabling them to profit by such a perfect system of 
division of labor, and opportunities of purchasing material in the largest 
quantities and in the lowest markets, as reduces the cost of manufacture to 
the minimum, and enables them to place their Instruments upon the market 

AT VERY LOW PRICES FOR WORK OF SUCH FINE QUALITY. 

A comparison of sur Organs and Prices with those of any other manufacture 
will prove this statetnent conclusively. 

Styles 6, lo, 13, and 14, are in the same pattern of Case. (See opposite page.) 

No. 6. — Two Sets of Reeds, Five Octave, Tremolo, and Grand Organ. Eight 
Stops. (Flute, Viola, Grand Organ, Melodia, Diapason, Diapason Forte, Principal Forte, 
Tremolo. ) 



No. 6, with Fan Tremolo, additional. 



No. 10. — Three Sets of Reeds, Five Octave, Fan Tremolo, Grand Organ, 
Sub Bass, and Octave Coupler. Ten Stops. ( Flute, Viola, Sub Bass, Melodia, Diapason, 
Octave Coupler, Diapason Forte, Principal Forte, Tremolo, Grand Organ.) 

No. 13. — Four Sets of Reeds, Five Octave, Three Solo Stops, Grand Organ, 
and Tremolo. Eleven Stops. (Flute, Viola, Clarinet, Solo Forte, C'^leste, Diapason, 
Melodia, Vox Humana, Grand Organ, Viol D' Amour, Tremolo.) 

No. 14. — PIANORGAN, Two Sets of Reeds, Piano, and Tremolo. Eight 
Stops. (Flute, Viola, Melodia, Diapason, Principal Forte, Diapason Forte, Tremolo, 
Piano.) 

The " Piano," in Style 14, extends through the upper half of the manual, is a most 
beautiful addition to the instrument, increases the power greatly, and will never become out of tune. 



FIVE OCTAVE ORGANS. 

In the following styles the cases are of walnut, paneled and moulded, 
■with projecting key-boards, shellac finished, ivory stops, patent valves, and 
improved bellows, swell and pedals. 




Style 13. 



Geo. Woods & Co. produce but one grade and one class of Instruments ; 
precisely the same care being taken with the lowest priced organ on their 
list as with the highest, the difference in prices being determined only by the 
capacity of the instruments, and in the expense devoted to the cases and 
fittings; the action work in every style being of the same quality, and the 
same care being given to the voicing and tuning. They could easily produce 
an instrument that could be sold for a few dollars less than their established 
prices, but doing this would be likely to result in the causing of much annoyance, 
trouble and expense to the purchaser, by reason of the inferior construction of 
the action work. The plan they have adopted and strictly adhered to of pro- 
ducing but one quality of work, and that of the very best, has been of great 
benefit to them, and is a principal cause of the reputation they have acquired. 

Styles 7, II, 40, 42, and 44 are in the same pattern of Case. (See opposite page.) 

No. 7. — Three Sets of Reeds, Tremolo, Grand Organ, and two Solo Stops. 
Five Octave. Ten Stops. (Flute, Viola, Melodia, Diapason, Celeste, Concert Flute, 
Forte, Tremolo, Dolcan, Grand Organ.) 

No. 11. — Four Sets of Reeds, Tremolo, Grand Organ, two Solo Stops, Sub 
Bass, and Octave Coupler. Five Octave. Twelve Stops. (Flute, Viola, Sub Bass, 
Melodia, Diapason, Octave Coupler, Celeste, Concert Flute, Tremolo, Dolcan, Forte, Grand 
Organ. ) 

No. 40. — Two Sets of Reeds, Fan Tremolo, and Grand Organ. Five Octave. 
Eight Stops. (Flute, Viola, Fan Tremolo, Melodia, Diapason, Grand Organ, Principal 
Forte, Diapason Forte.) 

No. 42. — Five Sets of Reeds, Tremolo, Grand Organ, two Solo Stops, Sub 
Bass, and Octave Coupler. Five Octave. Twelve Stops. (Flute, Viola, Melodia, Diapason, 
Vox Humana, vEoline, Sub Bass, Octave Coupler, Tremolo, Forte, Dolcan, Grand Organ.) 

No. 44. — PIANORGAN, Four Sets of Reeds, Tremolo, Piano, Two Solo 
Stops, and Bass Coupler. Five Octave. Eleven Stops. (Flute, Viola, Melodia, Diapason, 
Vox Humana, ^oline, Forte, Tremolo, Piano, Dolcan, Bass Coupler.) 

SIX OCTAVE ORGAN. 

No. 46. — Two Sets of Reeds, Six Octave. Eight Stops. (Flute, Viola, 
Melodia, Diapason, Principal Forte, Diapason Forte, Tremolo, Grand Organ.) 



SOLO STOP ORGANS. 

The following styles are finished in the most thorough and elaborate 
style possible ; they are in large upright cases of walnut throughout, front 
and back, heavily moulded and paneled, with veneered and polished panels 
jn selected woods on ends and fronts, projectmg key- board, carved trusses, 
extra ivory for keys, ivory fronts, French sharps, highly finished name board 
and ivory stops. 




ORNAMENTAL TOPS. 

Ornamental Tops of very pleasing design, adding to the height and attrac- 
tive appearance of the Instrument. 




Style A. 




Style B. 



Geo. Woods & Co. have on file thousands of testimonials from gratified 
purchasers of their instruments, including many distinguished amateurs and 
professionals ; but none have ever been solicited by them or published in any 
advertisement. They have refrained from this for the reason that they, as well as 
the thinking portion of the public, are aware of the ease with which testimonials 
are obtained, and the many influences that are often brought to bear to procure 
them. For similar reasons they have never exhibited their Instruments at fairs 
or exhibitions, as they believe that the methods in vogue for obtaining medals 
and premiums, are frequently corrupt ; and that the large sums often expended 
on such occasions would be laid out to much better advantage if devoted to 
improving the general character of the instruments, rather than on a few 
specimens, constructed especially with a view to exhibition and the procuring of 
diplomas, &c. 



OUR PARLOR GRAND CASE. 

No engraving can do justice to the elegant appearance of these cases. 




Style 42, In Parlor Grand Case. 

Any style costing more than $250 can be had, if desired, in Parlor Grand Case. 
Additional price, $50. 



II 



PRACTICE AND CHURCH ORGANS. 

These styles are extremely desirable for the use ol" organists, teachers, and 
students for pedal and solo stop pract^e, and for use in churches and halls. 
They are very powerful, and finished in very substantial cases of walnut 
throughout. 

(For cases for Nos. 93, 97, 106, and 107, see next page.) 

No. 93. — Five Octave, Three Sets of Reeds, Grand Organ, and Pedal Bass. 

Eight Stops. (Melodia, Diapason, Flute, Viola, Principal Forte, Diapason Forte, Bourdon 
Pedals, Grand Organ. ) 

No. 97. — Five Octave, Six Sets of Reeds, Tremolo, Grand Organ, Three Solo 
Stops, Octave Coupler, Two Pedal Bass Sets. Fourteen Stops. (Melodia. Diapason, 
Violoncello Pedals, Bourdon Pedals, Flute, Viola, Solo Forte, Dolcan, Grand Organ, Octave 
Coupler, Vox Humana, Celeste, Concert Flute, Tremolo.) 



ORGANS WITH PIPE ORGAN STOP. 

These styles have each two and one half octaves of veritable organ pipes in 
the treble. They are of very beautiful quality of tone, add greatly to the power 
of the instrument, and by a patented tuning arrangement can very readily and 
effectively be kept in tune with the reeds. 



No. 106. — Five Octave, Three Sets of Reeds, Pipe Organ, Grand Organ, Sub 
Bass, and Octave Coupler. Ten Stops. (Melodia, Diapason, Flute, Viola, Principal Forte, 
Diapason Forte, Sub Bass, Octave Coupler, Grand Organ, Pipe Organ. 

No. 107. — Five Octave, Four Sets of Reeds, Pipe Organ, Grand Organ, Octave 
Coupler, and Two Pedal Bass Sets. Eleven Stops. (Melodia, Diapason, Pipe Organ, 
Flute, Viola, Octave Coupler, Principal Forte, Diapason Forte, Violoncello Pedals, Bourdon 
Pedals, Grand Organ. ) 



TWO MANUAL ORGANS 

V/ITH COMBINATION SOLO STOPS. 

It is impossible to convey any adequate idea of the wonderful capacity 
or the production of musical effects which is given to these Instruments by the 
connection of the two manuals of keys with the Combination Solo Stops. 

To these styles are given the utmost care and the nicest taste in voicing ; 
and a purity and roundness of tone is the result, which it is difficult to 
realize is obtained from reeds. 

Uo. 21. — Five Octave, Four Sets of Reeds, Two Banks of Keys, Woods' 
Improved Manual Coupler. Ten Stops. (Hautboy Treble, Bourdon Treble, Diapason 
Treble, Principal Treble, Hautboy Bass, Bourdon Bass, Principal Bass. Diapason Bass» 
Manual Coupler, Fan Tremolo.) 

No. 22. — Five Octave, Six Sets of Reeds, Two Banks of Keys, Woods' 
Improved Manual Coupler, Octave Coupler, ^oline, Vox Humana, Sub Bass, and 
Celeste. Sixteen Stops. { Hautboy Treble, Bourdon Treble, Diapason Treble, Principal 
Treble, Hautboy Bass, Bourdon Bass, Principal Bass, Diapason Bass, Manual Coupler, 
Octave Coupler, Celeste, Sub Bass, Vox Humana, .^oline, Forte, Tremolo. 

TWO MANUAL ORGANS 

WITH COMBINATION SOLO STOPS AND PEDAL BASS. 

These instruments possess many recommendations for use in small 
Churches and Halls, as well as in the Parlor. They are very powerful ; 
their quality of tone is peculiar and most beautiful ; their capacity for variety 
is very great ; they are easily transported in perfect order for use, and very 
seldom require tuning. 

The following styles are finished in the most thorough and elaborate 
manner possible, with all the latest improvements, as in styles on next page. 

No. 35. — Five Octave, Six Sets of Reeds, Woods' Improved Manual Coupler, 
Full Pedal Bass of Tvi'enty-seven Notes. Thirteen Stops. ( Hautboy Treble, Bourdon 
Treble, Diapason Treble, Principal Treble, Hautboy Bass, Bourdon Bass, Principal Bass, 
Diapason Bass, Manual Coupler, Pedal Coupler, Fan Tremolo, Bourdon Pedals, Bom- 
bard Pedals,) 

ISo. 36. — Five Octave, Seven and one ha4f Sets of Reeds, Two Banks of Keys, 
Woods' Improved Manual Coupler, JEoline, Vox Humana, Celeste, Octave Coupler. 
Eighteen Stops. ( Hautboy Treble, Bourdon Treble, Diapason Treble, Principal Treble, 
Hautboy Bass, Bourdon Bass, Diapason Bass, Principal Bass, Vox Kumana, .(Eoline, 
Manual Coupler, Pedal Coupler, Octave Coupler, Celeste, Forte, Tremolo, Bourdon Pedals^ 
Bombard Pedals.) 

14 




style 36. 



ill. Wsilg I ii.'@ Siilliillii ^sli pli|§» 



THE ^OLINE. — K soft or breathing stop. 

THE VOX HUMANA. — K baritone solo stop. 

THE PIANO. — A Piano of exquisite tone which will never require tuning. 

The above stops are in every case separate and additional sets of vibra- 
tors and steel bars, and entirely distinct from the Tremolo which accompanies 
them. The great variety of combinations and variations of which they are 
capable impart to the instrument a wonderful capacity for the production of 
musical effects, and they can all be brought at will into the full organ, adding 
largely to its power and richness of tone. 

MUSICAL EFFECTS AND COMBINATIONS. 

All other recommendations being equal, that Organ is the most valuable 
which is capable of producing the greatest number of musical effects and 
variations. It is claimed by Geo. Woods & Co., and the claim can be 
verified by enquiry and examination, that the Instruments of their manufacture 
produce qualities of tone which are the nearest approach that has ever been 
made to the tones of the pipe organ ; that, in addition to this, they possess 
the most beautiful qualities of tone which are peculiar to themselves ; and 
that the arrangements and inventions which they alone make use of, give to 
them a capacity for producing the greatest variety of orchestral and instru- 
mental effects, and a range of expression which is certainly wonderful. 

These advantages are due severally to the general plan of the construction 
of the Instruments ; the great amount of care, skill, and taste given to the 
tuning and voicing of the reeds ; and, above all, to the merits of their 
Combination Solo Stops, — 

^OLINE, VOX HUMANA, AND PIANO. 

This invention is by far the most important ever introduced into reed 
instruments, and is fully covered by letters patent. 

April, 1877. ,6 



"Sll wofk^ of Si^t Bqu^t Ibekf k pfide ii|' pfopoi^tiori 
to tl|e ^kill, ta^te, tiir\e, expense, ki\(i ri^k kttei|ding 
tl\eii^ ii\ki\ufadttife. 

¥l|o^e tl|ii)g^ dklled deaf ki^e, wl\en justly e^tiir\kted, 
tl]e dl|ekf)e^t ; tl]ey kfe attei\ded witl\ ir\udl\ le^^ profit 
to tl)e ki'ti^t tl|ar\ tl\o^e wl\idl( everybody dall^ dl\ekp. 

dDekutiful fofn)^ ki)d doir\po^itioi|^ kfe i\ot Bqade "by 
(^l\an(ie, i|of c^ai| tl]ey evef ii| ki|y ir\atei^ikl be ii\kde kt 
^n^kll expellee. 

® (fon\j)etitioi| fof dl^ekpue^^ kr|d i\ot foi^ ex:dellei|de of 
woi^kii\ki)^l]ij) i^ tl|e np^t ffequer^t ki\d (fei^tkii) dau^e of 
tl\e fkpid dedky ki\d er^tife de^tfudtioi\ of ki't^ kqd ii\kr(- 
ufkdtufe^." 

Ii\ tl^e G^eo. Wood^ & Co.'^ Ii|^tfuir\ei\t^ i^o exper^^e 
wl\ktevef i^ ^pki^ed ii\ pei'fedtiii^ to tl]e utir\o^t i|idety 
evei^y detkil of dor|^tfu(ftioi\ ki|d wofkii\kn^l)ip ; tl|ey kfe 
^o tl\oi^ougl]ly ir\kde k^ to Ik^t k lifetiir\e, givii|g "but little 
tfouble to tl^e pufdl^k^ei^, kr^d \Yi\ei| tl]e^e pointy ki^e 
(^oi\^^idefed it will "be ^eei\ tl\kt tl\e^e Ii\^tfuir\ei)t^ kfe 
ir\udl\ tl|e dl|ekpe^t ir\ tl^e ii^ki'ket. 



style 36, 



With Pipe Top.