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centuries mUSICIans and
music' lovers have referred to the
pipe organ as "the king of instru'
ments." The dignity, majesty and
color of its tone have given this in'
comparable vehicle of music a pre'
eminent position among instruments
known to man.
Now, however, in the application of
the pipe organ to motion pictures,
its well,won title gains even greater
significance than ever before. Its
dignity is augmented by Ii g h t e r
moods. that delight as well as inspire;
its majesty speaks in terms that sway
multitudes; and its multi, colored
[page two]
tones become the means of expresS'
ing every emotion that may be de~
picted on the screen...
The modern theatre pipe organ is not
an invention-it is the result of a
slow development through the ages.
The parent is the instrument which
produced stately melodies for relig~
ious worship: the child is the organ
that~ in keeping with the times~ is de~
signed to entertain.
.
It was in the parent that beauty of
tone, fidelity of expression and cer~
tainty of action were developed. The
mixture of metals, the selection of
woods, the study of physical laws
and mechanisms that determine the
actions were the perfections of organ
builders who made "the king of in~
struments" before it was adapted to
cinema plays. In pioneering, they
learned through experience.
Is it not reasonable to believe that
builders who have lived with the
pipe organ through its days of de~
velopment and who succeeded in
building the finest of the parent
THE
VOICE
OF
organs should also build the most
desirable offspring?
Pipe Organs are built along funda~
mental lines. The pipes must speak
their notes with a clear beauty and
the action must be unfailing in re~
sponse. To these basic requirements,
the theatre organ has added the need
for a rare ingenuity in producing
novel and impressive effects. The
Kilgen Org<\Il Guild, builders of pipe
organs since 1640, feels that it has in
the now world-known Kilgen W on~
der Organ combined these three re~
quirements in a manner that gives a
new depth of meaning to the term
"king of instruments."
For almost three centuries, its crafts~
men have been contributing to the
instrument that is the modern pipe
organ. During this memorable span,
all that is fine in tone quality and re~
sponsive action has become known
to Kilgen. During the past decade,
its organ designers have delved
deeply into the study of theatrical
organ expression. Out oftheir study
has come the Kilgen Wonder Organ.
THE
[page three]
SILENT
DRAMA
"
/
"
/
THE
VOICE
OF
THE
SILENT
DRAMA
Cjfzree (J}enturies
of learn irzt 7Iow
An understanding of the Kilgen crest, so
faniiliar to millions of music lovers, will
give some idea of the wealth of tradition
that lies behind modern pipe organ de'
velopment. T his
emblem to some de'
gree charts the three
centuries during
which the Kilgen
Family has devoted
its efforts to the
ultimate .in pipe
organ mUSIC.
The escutcheon
used is a shield,
popular in middle Europe during the early
seventeenth century. It is quartered with
tinctures of Or (gold) and Gules (red).
The upper left quarter represents the
symbols of St. Cecelia, the patroness of
organ music. These symbols are an organ
and a wreath, the latter representative of
the crown of martyrdom, since St. Cecelia
died for her faith. In 1584 the Academy
of Music at Rome selected heras patroness;
and since that time her veneration in the
light o~ organ music has become universally
recogm~ed.
In the lower right quarter of the crest, we
find the symbol which definiti~es the
temporal birth of the Kilgen Organ, which
was in 1640 when knighthood was still
flourishing. This is a knight's helmet of
the type worn by German nobles in the
seventeenth century.
The charge in the lower left q~arter is a
hand bearing a torch, emblematic of the
Torch of Science or Learning. The part
that scientists have played in developing
the modern pipe organ can only be appre'
ciated when one compares the instruments
of early times to the modern theatre organ
with its amazing intricacies of construction.
Electricity, metallurgy, pneumatics, me'
chanics, acoustics, and countless other
physical laws have all contributed to
modern organ craftsmanship.
That &ience and its emblem should be
cognate to the Kilgen Wonder Organ is
attested by the fact that Kilgen work,
shops have time and again given rise to
new scientific developments and have
sponsored every advance that has been
made during the many generations of
their usefulness.
Kilgen was the first, for example, to adjust
wind pressure to the instantaneous passage
of energy which was introduced by the
application of elec,
tricity to the organ.
The magnet, which
leading physicists
now herald as the
finest one, was con'
ceived by Kilgen
artisans. Whereas,
the average organ
requires eleven me'
chanical operations
from key depression
to pipe speech, only
three are effected in The Kilgen.
In the upper right section we find red diag,
onal on the field of gold. This symbol
is taken from the emblem of Durlach, Ger,
many, which was the original Kilgen home.
[page tOUT)
KILGEN
WONDER
It was mainly through the tireless efforts
of Sebastian Kilgen and succeeding Kilgen
generations that Durlach became famous
as a pipe organ guild. Such adversity as
the burning of
the town by the
French in 1688
failed to enervate
the hopes and aspirations of the
first Kilgen Or~
gan builders. It
was in 1851 that
George Kilgen,
now deceased,
carried the ideals and experience of Kilgen
craftsmanship to this country. The first
American Kilgen Organs were built in
New York, and these instruments, made
in uni m po sin g shops there, laid the
foundation for the pre-eminence of the
modern instrument which bears that name.
St. Louis has been the home of the Kilgen
since 1873. Three times during the past
half century music lovers of the world
have required the extension of Kilgen
building facilities.
Today the organization is directed by
o
R
G A N
Charles Kilgen, Sr., son of the American
founder, and four sons-Alfred, George,
Charles, Jr., and Eugene-whose lives,
like those of the preceding generations,
are dedicated to Kilgen standards.
All that has been said of its tradition and
far-flung beginnings can only lend color
to the Kilgen. The pride of craftsmanship and the devotion to scientific development in its building are certain to
engender confidence in its builders; but
surely these are not
the determining factors in the selection
of a pipe organ. The
first and principal
judgment is tone.
Such is the story
that is told in the
scroll which adorns
the Kilgen shield.
Mirabile auditu,
"wonderful to hear."
All that might be said of a Kilgen's voice,
whether it be interpreting a dignified
sonorous symphony or a lilting popular
melody, is expressed in that Latin phrase.
(page five]
KILGEN
WONDER
ORGAN
~esponsihilitJJ of an
0xhihitor to his Qudience
1\ N exhibitor has a very definite re~
.l"""l. sponsibility to the people who
attend his theatre. They have paid
their money at the box office for the speci,
fic purpose of being entertained and
amused, and therefore, if he is to be suc~
cessful, the exhibitor must give entertain,
ment that appeals to them.
Conversely, if there is anything displeas~
ing about either his theatre or his pro~
grams, he is defeating his purpose and
actually endangering the good reputation
of his house. Often has it been said that
people are prone to soon forget things that
please them; but they long remember their
grievances. No place, is this human trait
more evidenced than in the reactions of
theatre~goers.
There is no one theatre asset which con..
tributes so much to the entertainment of
an audience as a pipe organ. It is actually
an orchestra, which renders either great
symphonic compositions or solos by any
of scores of instruments. There is no type
of music, popular or classic, to which the
pipe organ is not readily adapted. As an
accompaniment for singing it has proved
to be incomparable. For the purpose of
supplementing the renditions of orchestras
with its tonal grandeur, many leaders' have
found it invaluable. It is in the accompani..
ment to photoplays, however, that the
pipe organ has reached its greatest useful~
ness. Through its broad scope of tone, it
enables the organist to musically interpret
every human emotion and every screen
action that may be portrayed. ,
The necessity for using great care in
selecting an instrument which is of such
general utility and prominence on pro~
grams is obvious. Not only does the
exhibitor desir~ an organ which possesses
the finest tonei values and broadest range
of expression, but he must have one that
can be depended upon to function properly
at all times.
There is nothing, for example, more
annoying to aq audience than a cypher in
an organ-that is, where one note con~
tinues to sing out after the organist has
taken his finger from the key. Nothing is
so jarring to the audience as the noisy
banging ofpoorly made expression shutters
or a squeaking pedal key. It is then to the
advantage of an exhibitor to use such care
in selecting his organ-that he is sure its
action is madtt so well and its parts so
perfectly constructed, that these mechan~
ical flaws will not appear.
Still another annoyance, is the poorly
voiced organ-the organ that has been
voiced in a manner that results in indistinct
tones. The strings almost sound like reeds,
the reeds like flutes and flutes like dia~
pasons. Such pipe speech causes an audi~
ence to become restless after the organ has
been played for any length of time, since
it lacks tone color and always sounds the
same.
An organ is too expensive a part of the
exhibitor's equipment to be bought in a
haphazard manner. Since it is too expen~
sive to trade in at the end of six months or
a year, a poor organ once installed will
worry the audience of a theatre for several
years and will certainly keep down the
attendance at the theatre.
[page six]
THE
VOICE
OF
THE
The exhibitor owes it to his patrons to
purchase a good organ. He owes it to them
to investigate and deal with a firm that
has had enough experience to kIlow proper
design. He should select a firm that employs voicers who can give proper tone
coloring and true orchestral effects-and
that has developed a dependable organ
action.
The purchase of an organ is not as complicated as some exhibitors seem to think.
It simply means giving the time necessary
to investigate the reputation and length
SILENT
DRAMA
of building experience that a firm has had,
to make a careful study of several finished
installations and if reasonably possible, to
visit the plant where the organ is made.
The last mentioned is important since it
enables the purchasers to see the quality
of materials that are going into the instrument and the type of men that are building
it. If such a study is made the exhibitor is
not very likely togo wrong on the purchase of his organ and he has fulfilled in
every respect his responsibility to his
audience.
[page se\Jen]
KILGEN
WONDER
ORGAN
Wow to Purchase
q tJipe BrgaJl brJo/mGhersoYb
N my extensive experience designing
theatres it has been necessary for me,
not only to advise the exhibitor regard,
ing the design of the building itself, but
also to give advice on the proper equip,
ment for the interior. For this reason it
has been necessary that I make a thorough
study of theatre organs, their tonal design
and the amount of space necessary for any
given style and to determine how the vari,
ous makes stand up under their usage in
theatre playing.
I
It is a pleasure to set forth a few of the
things that I have learned about organs
and to pass them on in the hope that they
will be of benefit to the exhibitor in helping him select the best organ for his
theatre.
Certain rules must be followed to obtain a
satisfactory organ for a motion picture
house. The organ must be built on the
unified systeII,1 which makes it possible for
each set of pipes in the organ to be used
for solo playing and to be played from
various pitc~es bringing out the true
orchestral timbre of the instruments. An
organ design or specification drawn up on
the old time "Straight Plan" with little
or no unification is absolutely wrong for a
theatre as it is really only good for accompaniment playing and not solo playing.
I have found that firms experienced in
building solo organs for theatres do not
experiment with extemporaneous specifications; but have splendid standard
specifications which have proven satisfactory in th~ various sizes theatres.
The wind pressure to blow the pipes of a
theatre organ must be much higher than
ordinary organs in order to get true
orchestral tone. The organ must be voiced
so that it has distinctive tonal coloring,
which means that there is great contrast
between the various instruments. Some
of the cheaper organs I have heard are
voiced so poorly there is barely a distinction between the strings and reeds and the
audience soon grows tired of listening to
it for it always sounds the same. It is of
{page eight]
THE
VOICE
OF THE
paramount importance to the purchaser to
see that the firm which builds his organ
employs not only voicers who have had
long experience with unit organs but also
enough voicers so that they have specialists
for each type of organ pipes, particularly
those like the Tuba, Tibia and Kinura
which are used exclusively in theatre
organs.
The organ must have the circular type of
console or keyboard so that the organist
may operate it with exceptional speed. At
least one manual of the organ should have
double touch, for this is necessary in
orchestral playing. Care should be taken
in placing this console so that it is in a
direct line with the tone opening where
the sound emerges from the organ. If it is
placed around an angle in the wall or out
of this line, no matter how quick its action
is, it will always sound slow of response
to the player and thus the best results of
picture playing will not be obtained. I
deem it of great importance to place the
organ console in oblique position in order
that the audience may get at least a profile
of the organist. The inspiration prompting
our artists who are playing organs is not
expressed by back neck wrinkles, the bald
spot on the head or the long curl hang;
ing down the artist's back; but rather
by' facial expression and natural position
of the body while exacting harmony and
sweet tones from the instrument. To give
the audience an opportunity to see the
organist "in action", will bring about in
natural psychology, a presentation of the
organ number which cannot be obtained
when the organist turns his back to the
audience. This oblique position suggested
for the console will in no way interfere
with the attention which the organist
must pay to the screen, and will opportune
the organist when playing with the orches;
tra, to see the leader and observe his
commands.
The construction of the instrument must
be very substantial. For example, only the
best of leather and pure silver contacts
SILENT
DRAMA
being used. The magnets should be made
with the cores of finest Norway Iron and
bases and cups of cold rolled brass, as this
is the only type of magnet that can be
used for years at a time, playing every
performance without cyphers. Such a
magnet and type of contact insures long
life to the organ and also the instantaneous
response so necessary for solo playing.
Since it is Important that the organ builder
be allowed sufficient time to build the
instrument, the organ order should be
placed at the earliest possible date, enab;
ling the organ builder and architect to
work together in placing the instrument
and arranging its tone openings. A good
organ improperly placed and with poor
tone openings will not be satisfactory. I
advise my clients to purchase the organ
at the time the contract is placed for the
steel in the building and I always work
with the organ engineers so that the instru;
ment is sure to be placed advantageously.
The most important thing to my mind is
to select an organ firm that specializes in
the building of fine organs onJy--one that
has a reputation for honesty and sincerity
in their recommendations and business
dealings; one that has a large enough and
well enough equipped plant so that work
can be done to the best advantage. Such
a firm will embody in its instruments all
the features described above and provide
the type of instrument that will make
your house distinctive for its splendid
musIc.
The Messrs. Kilgen asked me to write this
short article but I am afraid that after you
have read my story you will know little
more about how to purchase an organ than
you did before. I am sure, however, that
you will realize that I have talked to a
great many organ salesmen. This I have,
to be sure, and still I do not know how to
purchase an organ. When pressed for
action, however, I usually take the points
listed above as a basis and I place the order
with a firm whose work will give my
client advantages in the peculiar location
for which the organ is intended.
[page nine)
CJlfiw CXIlgJ:istall~~f~t~~_
installatlo
Organs no
T o SELECT a fewf Kilgen
Wonder ments dis-
~hay
jf ih~:'U
IS
posing
s':nall group
at the exeasy
task. . e tion can on y h. hare conveyP
of Kilgens w lC "to millions
layed in t.hls
d dIvers 1
S'l t Drama
Voice of the hl en the nation.
mg
t
e
throug
ou t
of theatre~goers
s~tyc
~ent"anh
[page ten)
[
PiccadiLLy Theatre
CHICAGO
11
jJ
rPage eleven}
[
The Palace
CANTON, OHIC
11
If
,;{ ~icp
~V~tM
,.,UPllt
Prama
IT
]ayhawk Theatre]
TOPEKA, KAS..
(page thiTtee'l1)
[
Tht!. Alamo 11.
CHICAGO
[page fOllTteen]
If
~f.icp
~V~tM
,JUPnt
Pram
IT
The Palace
GARY, INb.
11.
Jf
(page fifteen}
IT
The Majestic]
HOUSTON
()
~iro
Sn~
Pram
[
The Lido 11.
CHICAGO
JI
~~
/())UR purpose is to indicate
how Kilgen tone may be
adapted to any size the,
atre, from one which might
adorn Main Street in a ham,
let to the greatest temple of
entertainment in a metropolis.
tY
MUNICIPAL AUDITORIUM [Sheldon Memorial]
Red Wing, Minn.
[page eighteen]
~~
(;]/'ILGEN tone is fundamen,
.1 ~ tal to a Kilgen. Size of
installation cannot af,
fect it. These few installations
are intended to show how the
Kilgen is always at home in its
environment.
PALACE THEATRE
Chicago
[page nineteen]
[ New Grand Central]
ST.WUIS
[page twenty]
GJ
HE four-manual console Kilgen Wonder Organ in the Piccadilly Theatre,
Chicago. Of period design, it is a
thing of beauty. Its more than three hundred stop keys provide every note and
auxiliary sound within the cinema gamut.
A piano, controlled directly from this
console, is one of the impressive features.
Exterior
[page twenty-one}
(
f
I
[page twenty-two)
~icp
Sn~
Prama
[
THREE MANUAL CONSOLE]
in the studio 01 the
National Theatre Supply Co., New York City
[page twenty-three}
ExteTWr
KILGEN
WONDER
o
R
G A N
80 ?(ecell!lns'lallatiallr of
7(lt~en Wonder Orrans
Chicago, Il1Piccadilly
Atlantic
Alamo
Ritz;
Lido
Frolic
White Palace
Kenwood
Clearing
Orchid
Oak
Radio Station W H T.
Wrigley Bldg., Chicago
Janet.
Milford
Marlow
Grayland
St. Louis, Mo.
Capitol
New Grand Central
Tivoli
West End Lyric
Pageant
Del Monte
Grand Opera House
Cinderella
Kingsland
Arsenal
Ritz;
Radio Station K M 0 X,
Mayfair Hotel
Birmingham, Ala.
Ritz;
Lyric
Capitol
Little Rock, Ark.
Majestic
Palace
San Francisco, Calif.
National Theatre Supply
Co. Studio
Sebring, Fla.
Sebring Hotel
Gillespie, Ill.
Peart
La Grange, Ill.
Illinois
Staunton, Ill.
Labor Temple
Hastings, Neb.
Rivoli
Holdredge, Neb.
Sun
Kearney, Neb.
Empress
Gary, Ind.
Omaha, Neb.
Palace
Broadway
Orpheum
Leavenworth
Benson
Lathrop
Keokuk, Iowa
Grand
Le Mars, Iowa
Le Mars
Topeka, Kans.
Jayhawk
Hutchison, Kans.
Royal
Cape Girardeau, Mo.
Broadway
Hannibal, Mo.
Star
Kansas City, Mo.
Uptown
Miracle Play (Coliseum)
Occasso
Laurel, Miss.
Strand
Minneapolis, Minn.
Ritz;
Dyckman Hotel
Radio Station W A M D,
Radison Hotel
Red Wing, Minn.
Municipal Auditorium
(Sheldon Memorial)
Beatrice, Neb.
Rivoli
Fairbury, Neb.
Bonham
Grand Island, Neb.
Capitol
[page twenty-fouT]
New York City, N. Y.
Studio National Theatre
Supply Co.
Canton, Ohio
Palace
Youngs
Columbus, Ohio
Hippodrome
Cleveland, Ohio
Mt. Pleasant
Cincinnati, Ohio
Montgomery
Woonsocket, R. I.
Park
Dallas, Tex.
Majestic
Houston, Tex.
Majestic
Ft. Worth, Tex.
Majestic
San Antonio, Tex.
Majestic
Cedar Park, Utah
Woodbury
Merrell, Wis.
Cosmos
Milwaukee,
Wi~.
Ritz;
Wausau, Wis.
Grand
West Bend, Wis.
Mermac
THE
VOICE
OF
THE
SILENT
DRAMA
cA /rip thru the 'fJ{Clnt
I
T IS our deep-seated regret that we cannot take every
motion picture exhibitor in America on a personal tour
through the unrivaled pipe organ plant in which Kilgen
instruments are made. It is a plant devoted exclusively to
the building of organs. Kilgen believes that only in specialization of effort can the best results be produced.
On such (l trip, you would see how Kilgen craftsmen plan
and construcl.'The Voice of the Silent Drama." You would
see how the raw materials are converted into thousands of
essential parts which make up the king of instruments. You
would see Kilgen facilities for testing the merit of each of these
parts as well as the painstaking care that goes into their
assembling.
The serious intent and the pride of craftsmanship of the
wood-workers, the pipe makers, voicers, draftsmen, action
experts and indeed every type of artisan that contributes to
Kilgen quality would impress you.
Perhaps, however, the following brief pictonal resume
will give you some idea of what goes on in the Home of the
Kilgen. With it goes an invitation to call on us and permit us
to conduct you on an interesting tour of our plant.
[page twenty-five1
K I L G E N
w
ONDE R
HIS the most completely
T
equipped
exclusively
the
of
is
building devoted
building
pipe organs in the world. It is
the new home of the K ilgen
Wonder Organ. Four times
since K ilgen has been estabto
lished in America,
see~ers
of
fine organs hat'e by their ever
increasing patronage forced
Kilgen to build larger quarters.
'This plant houses hundreds of
organ craftsmen whose experience and abilities conform' to
K ilgen standards.
HE
improved elecT
tro-pneumatIc
bodies more than
Kilgen
actIon em30 ~ears'
experience in building' this
specific type action. 'The contacts are of the rubbing type,
necessitating use of solid silver.
By using these, with a special
low-resistance magnet, long
service is assured. Action is
guaranteed to be capable of
prompt and rapid repetition
and unfailing response. Despite its marvelous ingenuity
and precision, this action is
free from complications.
{page twenty-six}
o ROAN
THE
VOle E
OF THE
SILENT
o
R.L\.11 A
T
HE little magnets which
actuate the individual mechanism of each note are made
wholly in the Kilgen plant.
Their bases and shells are made
of cold rolled brass. This
exclusive Kilgen advantage
entails greater cost but results
in magnets that are more
durable and impervious to
atmospheric changes. Machined down to an accuracy of
one-thousandth of an inch,
they are interchangeable One
with the other, either whole or
in part. The armature gap is
set permanently and rigidly,
so adjustment is never necessary.
IN.D chests made for a
Organ are proW
vided with a special bellows
Kilgen
chamber, which assures the only
perfect supply of air in un·
varying pressure to each pipe,
under any and all conditions of
use. Each pipe has a separate
valve and mOWr, unaffected by
the use of any other valve and
motor. This ma~es possible the
playing of rapid staccatic passages to chords on one manual,
without any variation of wind
pressure affecting the melody
movement.
[page twenty-seven]
K I L G E N
WONDER
THIS Kilgen console is of
the approved "circular
type" so widely used for theatre playing. 'The framewor~ is
solid and completely independent of the action within.
Combination pistons are double
acting. placed under the respective manuals and are
adjustable at the console- -moving stop ~eys. Manuals fold
bac~ li~e leaves of a boo~.afford­
ing easy accessibility to any
part. Kilgen double touch gives
double the number of orchestral
effects from each ~eyboard. 'This
remar~able action enables an
organist to playa solo on one
group of instruments and an
accompaniment on anotherall with one hand. leaving the
other free to play an obligato or
counter melody on another
manual.
IN.finestORDER
to ma~e the
metal pipes, Kilgen
begins with the raw materials;
and lhen melts, combines, rolls,
_forms and finishes it for its own
special purpose. A foundry is
maintained in which the production of each individual pipe
is carefully carried out. 'The
metals used in the construction
of pipes are cast from basic
metals, mixed in such proportions as to afford the best timbre for the particular stop for
which they are to be used.
[page twent)'-eight}
o RGAN
THE
va Ie E OF
THE
SILENT
D R.AMA
:N.E special alloy, 1{nown
O
as "frosted tin" contains
90% pure tin, and is used in
the construction of small·
scaled orchestra! strings, each
of whu:h is given a fine tone
impossible to secure otherwise.
. . . . 'There are special mix'
tures for the Diapasons. unequaled anywhere. 'The string
bases and all the frorlt pi pes
are made of the best annealed
zinc of ample thu:~-ness, with
inserted soft metal mouths,
reinforced languids and toes for
voicing and tone regulating.
reeds, such
Tetc., asHEaretheorchestral
tuba, saxophone,
made with brass
resonators when practical, duplicating in detail the actual
orchestral instruments. 'They
also are fashioned entirely from
raw materials to finished pipe
within the Kilgen plant by ex'
perienced Kilgen craftsmen.
'The pipe-ma~er shown in this
illustration, for example, has
had more than thirty years'
experience at just this type of
wor~ in the Kilgen Plant.
[page twenty-nine]
K I L G E N
w
ONDE R
K
ILGEN. voicers are supermusicians in the accuracy
of their sense of tone and pitch.
It is by them that the organ has
individuality conferred upon it.
To voice an instrument properly they must consider its future
home--its acoustics, hard or
soft plaster, cushioned seats,
size, construction, climatic conditions, etc., Perfect voicing
gives to Kilgen Organs a true
orchestra! tone in all solo stops
and dignity and power without
hardness in the louder stops.
The full organ, finally is well
balanced into a delightfully
toned orchestral ensemble.
I
N. THE Trap and Percussion Department may be
found every ~ind of drum, cymbal·chimes, harp, xylophone,
and even a grand piano-all
for use in the Wonder Organ.
The piano control is wonderful.
With Kilgen action it is possible
to actually transfer the touch
of the organist at the console to
the piano many feet away. This
exclusive Kilgen feature has
altracted wide interest in the
scientific world.
[page thirty]
o RG
AN
THE
Vale E
OF THE
SILENT
DRAMA
interior of an
FINISHED
organ chamber of a Kilgen
Organ. Notice that
Wonder
leather is used instead of rubber cloth on individual ~lIows
controlling ~xpression shutters.
Brass resonators, it will be
noted, are used on reeds. Building frame is of unuslUllly
sturdy construction. Body of
tone is assured by large scales
of all pipes.
A
CORNER of the mammoth Kilgen Assembling Room where various sections of organs aTe fitted
together and thoroughly tested
before being shipped. On the
right is shown a large bass
drum, xylophone and harp,
together with the mechanism
which ma~es it possible to play
them from the ~eyboard. 'The
~eyboard shown in foreground
is for a comparatively smalt
instrument. In this largest of
erecting rooms,. there is space
to assemble seven large pipe
organs.
(page thiTty-one)
VOle E
OF THE
SILENT
DRAMA.
~pproralJrOJ1l7!lOfewho lfiow
KILGEN Organs are endorsed by leading Organists, exhibitors and experts
throughout the world. From technicians and the laboratories of the leading
Universities, praise has been received for the quality of materials used and
the perfection of Kilgen construction. The Kilgen organization has received
literally thousands of letters from those enthusiastic over the performance of
their Wonder Organs. Space will not permit a list of them all, but herewith
are printed a few that are typical.
Organist Gets
Inspiration
An Organist who would bring out the
"etfects" which delight an up,to,date
audIence of musIc lovers, can only do so,
if the "soul of music" is already contained in the instrument.
It is for this reason I have found my greatest inspiration while
seated at your truly wonderful Organs.
The beautiful, "voicing", and graduation of tone etfects is
there, and only needs to be brought out. I am not at all sur,
prised at the marvelous recognition accorded your instruments.
Kilgen Wonder Organs are a National Institution.
[SignedJ Alfred G. Robyn, Organist and Composer
New York City
Cue Any Picture
Can Correctly
The Kilgen Wonder Organ may well
be termed the "Voice of the Silent
Drama," as the wide variety of stops
the Organist has to draw from makes it possible to correctly cue
any picture.
We are very well pleased with our Kilgen Organ, and it has
proven to be a real factor in swelling box office receipts.
[Signed) Aug. Berkholt::
MERMAC THEATRE, West Bend, Wis.
HMiracle" Organist Com~ I want to express
ments on Responsiveness extreme pleasure it
the
has
given me to play the or,
gan which you designed and built specially for the "Miracle"
during its presentation at the Coliseum in St. Louis. The Dia'
pasons and Flutes are indeed perfect-the Strings and Reeds
are beautiful. The action is certainly extremely responsive and
we had freedom from trouble of any sort.
It is truly an exceptional Organ in every sense of the word and
I might also mention that a number of others have expressed
their high approval of it.
The number of Organs of yours that I have played on leads me
to compliment you on the high standard that you have main'
tained in all of your instruments.
George F. Brock, Organist of
"THE MIRACLE".
Excelled by None in
Tone or Construction
It has long been my desire to
express to you my apprecia,
tion of your beautiful instru'
ments. I have played the largest Organs in America-and in
none have I found greater beauty of tone nor were they able to
excel the mechanical perfection of the Kilgen Wonder Organ.
fSigned] Stuart Barrie, Organist
NEW GRAND CENTRAL THEATRE,
Formerly-California Theatre, Chicago Theatre, etc.
Best Organ
on the Air
Since my engagement at W H T, I have re
ceived thousands of congratulatory letters
from listeners, all of which state that the
Kilgen Wonder Organ is the best Organ on the air. Our
Radio "Fans" write us stating that nothing in the world com'
pares with it.
My long experience playing various types and makes of organs
permits me to state that the Kilgen Wonder Organ far surpasses
anything I have ever played in tonal qualities, quick action,
durability and responsiveness to the artist's touch. My only
hope is that I will always have a Kilgen Wonder Organ to
play on.
[Signed} AI. Carney, Organist
W H T BROADCASTING STATION, Chicago, IlL
Chosen after
Thorough Tests
When the President of St. Louis
University authori::ed the purchase
of our present new instrument it was
with the understanding that we were to select the best possible
instrument that was built and that it was to be a cold·blooded
business proposition. We were also given the assurance that
we could have the entire personnel and equipment of the chemi,
cal and physical laboratories of the University at our disposal,
if this would be of any assistance to us in the selecting of our
instrument.
Our first step was to choose builders of recogni::ed merit and
reputation. Requests were mailed out to these for specifications, scaling of pipes and also samples of metals and wood used
in the make-up of their pipes. These samples were turned over
to the heads of both our chemical and physical laboratories, and
I can conscientiously say that the report of this test alone was
enough to eliminate every competitor except Geo. Kilgen &
Son, Inc. We traveled all over the country inspecting factories
and playing on the various instruments. After fourteen months
of scrutini::ing investigation we held our final meeting and from
the evidence gathered we were forced to give the contract to
Geo. Kilgen & Son, Inc.
Now that our task of getting the best instrument we could pur,
chase has heen reali::ed, I say, unreservedly, that we have the
[page thiTty-twoJ
K I L G E N
WONDER
finest instrument in the country and invite anyone who would
like to hear and play the instrument to come to St. Louis, where
I, personally, will acquaint them with our Kilgen masterpiece.
[Signed] Geo. T. Devereaux, DiTector of Music
ST. LOUIS UNIVER.SITY
Perfect
Instrument
I feel that a few words of commendation is
due you for the recent installation of your
instrument in the new Piccadilly Theatre in
Chicago. Inasmuch as I am the soloist at this theatre I can un,
hesitatingly state that you can be proud of this instrument.
The voicing, which in several instances embodies new and suc'
cessful qualities is the finest that I have ever heard. The tonal
qualities combine both the ecclesiastical and commercial quality,
which is as it should be and with no cypher or other mechanical
trouble, you have arrived at the "Perfect Instrument."
Personally, I want you to know this and at the~_ame time wish
you continued success in the future.
[Signed} Leo Terry, Solo Organist
PICCADILLY THEATRE, Chicago, Ill.
Properly
Named
The Kilgen Wonder Organ is properly named.
The opening of the Kilgen Organ at the Rivoli
Theatre beat all records. A Master Instrument,
a marvelous installation!
Accept for yourself and your experts my congratulations and
best wishes.
l[Signed] Max T. Schuader, Manager
RIVOLI THEATRE, Beatrice, Nebraska
'iI
Praise from
Screen Star
Many times it has been my privilege to
listen to the charming music of the Famous
Ktlgen Wonder Organ. You know, of
course, that propg Organ accompaniment means much in the
presentation of fe~ture Motion Pictures and I am always grati,
fied to know that my pictures are to have the value of Kilgen
music.
Wishing you continued success, believe ~e,
[Signed] Virginia Valli
UNIVERSAL CITY, Cal.
'iI
'iI
Stands Wear
Admirably
Since opening our new Grand Theatre two
years ago, at which time we installed one
of your Unit Organs, we have had many
compliments from our patrons on the splendid tone qualities of
the instrument. It has given very general satisfaction. We
have found the instrument requires little attention and stands
wear of theatre use admirably. We are well pleased with the
instrument.
[Signed1 M. F. Baker
BAKER,DoDGE THEATRES, Inc., Keo~u~, Iowa
'iI
Increased
Receipts 20%
I wish to thank you for the past favors
you have extended me. Also, I am very
much pleased with the Kilgen Organ as
are my patrons. Have increased my receipts twenty per cent.
Wishing you the greatest success, I remain,
[Signed] E, Brunnell, ManageT
METROPOLE THEATRE, Chicago, Ill.
'iI
Delighted
after 10 "'ears
We have definitely decided to keep our
Kilgen Organ in the Princess Theatre,
J
as we are satisfied that even after ten
years of hard service, it is a better built instrument and sweeter
toned Organ than any new Organ that we have had the-oppor'
tunity to hear and inspect.
[Signed] E. C. Trieb, PTesident
CIVIC THEATRE, Roswell, New Mex.
We Made
no Mistake
When we were buying equipment for our
new Palace Theatre in Gary, Indiana, we
investigated all of the leading makes of
Theatre Unit Organs, and after careful consideration, we placed
our order with you with the utmost confidence that we were
making the best selection possible.
Now, after having had the organ in continuous use for almost a
year, during which time it has given wonderful satisfaction, we
feel sure we made no mistake in our judgment.
[Signed] V. U. Young, GeneTal Manager
GARY THEATRE COMPANY, Gary, Ind.
'iI
Audiences
Praise Tone
While visiting your factory the other day,
I saw a great number of letters commenting
upon the wonderful instruments you are
putting out and I am just egotistical enough to think that you
would like one from me.
Possibly you do not know that 80% of the mail at Radio Station
K M 0 X, this city, spoke of the wonderful tone of the Kilgen
Organ while I was their Staff Organist. I am in a position to
recommend them very highly, having played Organs for the
Skouras Brothers Enterprises for the past five years at a number
of their Theatres where you have Organs.
[Signed] Arthur L. Utt, Organist
NEW GRAND CENTRAL THEATRE, St. Louis, Mo.
'iI
Credit to
the Town
'iI
Shows Results
at B ox Office
ORGAN
Although we have only had your Kilgen
Organ installed for two weeks, we feel
sure t h
at"Its Ind'IVI'duaI'Ity 0 f tone and
wide range is admirably suited for the type of music we require
from our theatre organs. Everything about this Wonder
Organ from its adaptability for comedy cueing to the Solo work,
which we now employ extensively, seems to us and to our
patrons to be 'just so.'
The acoustics of the Kenwood Theatre have proven themselves
not to be easily adapted to all organs-especially in the louder
and deeper tones. However, the Kilgen Organ has certainly
adapted itself freely to this house.
On top of this, we were benefitted at the box office, and
that's what counts. It was not just for a few nights either,
because every evening finds the money coming in a great deal
better than usual as a direct result of our new Organ.
[Signed] Robert J. Speck, ManageT and Owner
KENWOOD THEATRE, Chicago, Ill.
The Kilgen Organs which we purchased have
now been installed in our new theatres at
Fairbury, Beatrice and Kearney. They exceed
our expectations in every way.
We bought these Kilgen Organs on account of superior tone
qualities and effect and construction of same, only after a care'
ful study of a number of prominent makes of organs. At that
time the writer and his associates decided that the tone qualities
of the Kilgen were superior to all other. makes, and since their
installation, we have had no reason to change our decision.
Your installation man, who installed these organs is evidently
a "Master" in his line of work, and he has left nOihing undone
to give us first,class installation.
After seeing and hearing these instruments, I feet confident
that the larger organ, which we purchased for our new theatres
in Grand Island and Hastings will be a credit to these towns,
and will form an important part of entertainment of which we
can well be proud.
[Signed] E. J. Sieh, General Manager
HOSTETTLER AMUSEME~T Co., Omaha, Neb.
[page thirty-three}
KILGEN
WONDER
ORGAN
D~Clmat~5intthe JDhot0p.!QJI
wzth 7(j/gen Gxpresszon
R ARE indeed is the screen action which cannot be interpreted by
sound; and rare indeed is the person who does not enjoy a ~eener
appreciation of the photoplay that IS synchrOnIzed to appeal to
both his eye and ear. A Kilgen Wonder Organ enables the organist
to follow every screen movement with a fitting sound. Following
are a few of the instances where the Kilgen fits the sound to the action
}
:«0.
The Storm Scene-With crashes of thunder, driving rain and
howling of wind! A Kilgen storm is a realistic one to say the
least.
Military Scenes-Sounds of marching feet, bugle calls, staccatic
beats of the drummer, whistling of shells and bursting of bombs.
You can imitate a scene in "No,Man's Land."
Church Bells-The wedding bells, funeral chimes, religious
services. Kilgen chimes will tell the story, and there is no note
more beautiful than the melody of bells.
Fire Engine-Dramati~e the fire. The motor snort, the shrill
claxon, the ominous gong. All are at the disposal of the Kilgen
organist.
Hunting Scene-The trumpeter calling the hunters. The sound
of the riders rushing through brake. The merry return.
[page thirty-four]
THE
VOICE
OF THE
SILENT
Symphony Orchestra-Every instrument in the orchestra will
be found in the Kilgen Wonder Organ; and the grand ensemble
is a thing of power and beauty.
Jazz Band-All of the pep and jollity of a Paul Whiteman rendition. All the odd notes and contraptions. The kind of music that
dancers can't resist.
Animal Cries-The roar of the lion, the wail of the hyena, the
snort of the bull, the call of the bird, the bark of the dog ... there
is not an animal sound which a Kilgen will not duplicate.
Western Scenes-The horses' hoof-beats on a cowboy's ride. The
exchange of shots, the rapid pursuit. Western scenes give a rare
possibility for organ accompaniment.
Blacksmith-Clang! Clang! Down comes his sledge and you can
almost feel the heat, it all seems so real. Then ne dips the red-hot
shoe in water and you hear the hissing steam.
Piano Solo-All the charm of a Rachmaninof recital. Or when a
pianist plays in the picture, there is an actual accompaniment by
the Kilgen Wonder Organ.
The Indian Dance-Nothing gives true atmosphere to Indian
scenes like the beating of the tom-tom, that undeniable dance
refrain. On a Kilgen, you get it at its best.
[page thirty-five)
DRAMA
ORDS and pictures can not interpret the
beauty of music. The power and grandeur
of any worthy pipe organ, much less a
Kilgen, can only be hinted at between the covers
of a book.
If, in relating the pleasure and profitable experi,
ences that Kilgen Wonder Organs have brought
to others, we have awakened in you a desire to
hear and learn more about Kilgen instruments and
"The Voice of the Silent Drama" our efforts have
indeed been repaid.
We have not included in this brochure tone plans
or specifications of Kilgen Wonder Organs, be,
cause these should in each case be prepared only
after a thorough study of the building in which
the organ is to be installed.
We do assure you however, that if you are inter,
ested in the selection of a pipe organ, your speci,
fie problems will be studied by trained factory
representatives located in every office of the
W
Your inquiry will place one of these represen,
tatives immediately at your service. We assure
you that his suggestions will be both sound and
sincere, and everything possible will be done to
secure a worthy organ for your theatre.
~to.
Itilgtn &: &on, )nc.
Established in U. S. A .. 1851
61. T.oui.