JWAnderson
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Posts posted by JWAnderson
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Yes - in fact, it was so bad, that I have felt compelled to add this one:
http://youtube.com/watch?v=nupdcGwIG-g
(It is not remotely organ-related, but it did cheer me up.)
Here is another good one:
JA
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I have a choir member who has a fetish for switching things off after a service, including - only once! - the main switch to the organ; just as I reached the last page of the Franck A minor Chorale. (At risk of being slated - or, worse, Blicked
- surely one of the most thrilling endings ever achieved by simple means....... ?)This has happened to me on countless occasions as parishioners switch off the power after the service. Last time this happened I was playing the Purcell Trumpet Tune, and I got to the end of the air, changed the stops and then... nothing!!!
But we've now decided that the organ is going to be put on a separate switch to the mains power.
JA
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What was that supposed to be exactly? That first video was probably the worst I've seen all day.
JA
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What about Voix Celeste?
I have always pronounced it as Vox, but is that right?
JA
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What really grinds my gears is when I practise a hymn up for Sunday, and I think its all perfect but then it all goes wrong on the day.
But thats probably because I'm still learning. Another thing is one organ I play, the console is in a pit with music shelves at the side, but then little kids come along and start pushing books off the top. Gets quite annoying when they fall on the pedals!
Josh
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A question for Richard McVeigh.
I have been thinking, which I do occasionally(!), and have come up with a question with regard to an interest of mine - namely, how does one efficiently accommodate the contents of an organ.
At York Minster, the Great Organ includes a 16' Open Diapason. Bearing in mind that the display pipes in the main case are non-speaking, and the height of the case (less the towers) must be about 13' by my reckoning, where are the bottom pipes of this stop? Presumably, they are on, or adjacent to the Great chests, yet they do not protrude above the top of the case.
Is this a stopped bass, or mitred, or even Haskelled?
I address my question to Richard as, presumably, he is familiar with this organ. However, if anyone else has the answer I should be very grateful for your help.
John
It could be possible that the basses of the diapason are placed at the same level as the Pedal 16' basses.
Considering that there is already a 16-ft Gedackt on the Great I wouldn't think that the diapason basses would be stopped.
But then again I could be wrong, since being on the other side of the world I have never actually seen the organ, but this could be possible.
Josh
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I usually play a Rodgers organ, and just wear socks when using the pedals if I can be bothered taking my shoes off.
They seem to slide enough along the pedals for me, but trying to play with them at another organ and I definately get alot of wrong notes.
Apart from OrganMaster shoes does anyone know anyother cheap organ shoes??
JA
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We are replacing the Flute 4' on our Great Organ. (On our House Organ.) The replacement stop is by Holditch. The bottom twelve notes are stopped. The tenor octave is open and the rest is harmonic. It is all rather fine and blends well with the Gray & Davison pipework.
Barry Williams
This is probably the way they make it, but it is quite difficult to tell from photos in my organ. I'll have a look sometime and find out how the my harm. flute is set out. I have just had another look at the photo and it could be that it is open from pipes 1-24 and harmonic from 25-58, but again its too difficult to tell.
JA
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With the standard 4' stop, is it usually just the trebles that are harmonic, or are there instances where the harmonic pipes are carried all the way down to the bottom? If the basses are not harmonic, where do the harmonic pipes usually start? I have come across examples starting at c' and g', but have no idea what the norm is, or even if there is one.
All of the organs that I have played with harmonic flutes have harmonic pipes from Tenor C upwards, but I wouldn't have a clue if this is the normal way or not. My church organ has a harmonic flt but from what I can remember and in pictures, it looks like it goes onto diapason pipes in the bottom octave but I don't think this would be right.
I have heard of organs with harmonic pipes right down to CC (although I can't name any), but a lot of them don't because of the pipe height.
JA
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I should have mentioned earlier that the Swell Lieblich Flute 4 was added in the 1940s rebuild on a separate chest above the rest of the pipes. The Larigot was probably added at the same time but is on the soundboard.
JA
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I would be interested to see these.
Unfortunately, I have not been able to go into the church this weekend and because I cannot go into the organ by myself, I have not been able to get any photos. Next time I have a organ lesson, I'll see what I can do, but that would probably be next weekend.
JA
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On the other extreme, this one is much more difficult:
A small house organ of only six stops (plus couplers), with the action of your choice, to be disposed in a room measuring twenty feet long by twenty feet wide by twelve feet high. Wooden floor-boards and hard plastered stone (or block) walls - NOT painted in magnolia....
PEDAL ORGAN
Sub Bass (M) 16
Open Flute 4
Great to Pedal
Swell to Pedal
Swell 4p to Pedal
GREAT ORGAN
Stopped Diapason 8
Gemshorn (Conical) 4
Octave
Swell 16p to Great
Swell to Great
SWELL ORGAN
Open Diapason 8
Hautboy 8
Tremulant
Sub Octave
Reversible pedal to Great to Pedal
Three adjustable general combination pedals
Electro-pneumatic action.
Still over the limit, but couldn't wait until tomorrow afternoon.
A six stop organ:
GREAT
Wald Flute 8'
Principal 4'
Octave
Swell to Great
SWELL
Violin Diapason 8' (stopped bass)
Lieblich Flute 4'
Oboe 8'
Tremulant
Octave
Unison Off
Sub Octave
PEDAL
Bourdon 16'
Great to Pedal
Swell to Pedal
I am really surprised at how addictive this forum becomes.
JA
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Now I know I might be over my one a day limit on specifications, but I'll post one I've just come up with before I shut down the computer.
GREAT
Open Diapason LGE. 8'
Open Diapason SML. 8'
Stopped Diapason 8'
Principal 4'
Harmonic Flute 4'
Twelfth 2 2/3'
Fifteenth 2'
Mixture (17.19.22) III
Posaune 8'
Swell to Great
Choir to Great
SWELL
Lieblich Bourdon 16'
Open Diapason 8'
Lieblich Gedact 8'
Viola da Gamba 8'
Voix Celeste (TC) 8'
Principal 4'
Flautina 2'
Mixture (15.19.22) III
Contra Fagotto 16'
Trumpet 8'
Oboe 8'
Clarion 4'
Tremulant
Octave
Unison Off
Sub Octave
CHOIR
Wald Flute 8'
Violoncello 8'
Nason Flute 4'
Harmonic Piccolo 2'
Cornet (12.17) II
Clarinet 8'
Tremulant
Octave
Unison Off
Sub Octave
Swell to Choir
PEDAL
Open Diapason 16'
Bourdon 16'
Echo Bass 16' (Sw.)
Principal 8' (ext. 16')
Flute Bass 8' (ext. 16')
Fifteenth 4' (ext. 16')
Trombone 16'
Trumpet 8' (Gt.)
Great to Pedal
Swell to Pedal
Choir to Pedal
Ped & Gt Pistons Coupler
All on about 3 1/2" w.p.
Has anyone heard of Arthur Hobday? He built some really nice organs around the 1900s, one of which I think would be good as a house organ.
JA
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I quite like the forensic approach to organ-research!
I suspect that the original specification of the Great Organ would have been something like as follows:-
Double Stop Diapason 16 (Possibly on a separate chest, and made available at 16ft and 8ft on the Pedals)
Large Open Diapason 8
Small Open Diapason 8
Hohl Flute 8
Dulciana 8
Principal 4
Grave Mixture 12.15 2 rks
However, it may well have been that the 12:15 Grave Mixture was not present, and the slide may have contained the 4ft Harmonic Flute instead, but if there wasn't a first Diapason (highly unlikely), the 12:15 Grave Mixture AND the 4ft Flute may have been included. I would suggest that, somewhere along the line, an 8ft Great flute has disappeared, and the current one is simply a switched extension from the 16ft, with perhaps a few pipes added at the top end. I say this, because in an organ of this size, a separte 2.2/3 and 2ft would have been a luxury, and almost certainly not in the original specification.I suspect that the Pedal 16ft Principal extension rank may well be the old Open 1 with a new bottom octave added. Of course, it may well be that the bottom octave is wood, which was the usual Brindley rank, and if so, then this would probably change to metal pipes at 8ft pitch and would therefore be a part of the original pedal organ.
The only other "clue" is the composition of the Mixture quoted as 17,19,22, which would NEVER have featured on a Brindley & Foster organ. They followed the German/Schulze model of purely quint mixtures, and I very much doubt that they ever used the tierce rank, and certainly not in a chorus mixture. The existence of a 3 rks Mxiture (rather than a 2 rks 12:15 Quartane or Grave Mixture) suggests the use of an old, quite spacious area, such as that required of a first diapason.
With the exception of the 1.1/3ft stop, the Swell appears to be completely original, other than the re-positioning of the Oboe pipes on the windchest. At guess, the original Swell contained a 2ft Harmonic Picollo , which could have become the 4ft on the Great with a few new pipes, or may have been a 12;15 Mixture. It is even possible that a 2ft Harmonic Picollo was re-positioned as a 1.1/3 pitch (is it a harmonic rank?), or a more normal 2ft Picollo (non harmonic) was cut down a bit.
All this is inspired guseework, but I'd wager £5 that I'm not far out, because of the way Brindley & Foster built organs.
They were very conservative (except in the use of quite complex pneumatic-actions), and became builders of more-or-less stock factory organs, using standard scales (Topfer?), and just plucking them form the pipe-makers list of standard bits and pieces. They also did it quite well, and resisted the worst excesses of late romanticism, at least until their later instruments, when stops like the Flute Majico started to make an appearance.
Before suggesting possible improvements, I think a few words about B & F's work is apt. The Swell, almost certainly, will be less loud than the Great by a fair margin, and with rather thin-sounding reeds. There's nothing wrong with this, but it does mean that extensive modifications to the Swell are going to yield very little musically, because there is absolutely no way that this is ever going to be a dominant French (or Willis) type of Swell.
The best feature of the current instrument should be the Great Diapasons, which will be quite bold and not voiced in a dull way at all, if they are true to form.
This is what I would want to do with the Great:-
Great
Principal8 (returned to main windchest)
Hohl Flute 8 (possibly 2nd hand B & F...lots around)
Octave 4
Harmonic Flute 4
Fifteenth 2
Mixture (15,19,22 possibly) 3 rks
Trumpet 8 (new, placed on extension chest currently used by 'B' Principal)
The Swell is not much of a problem, in that it is remains largely original for a B & F organ. Much depends on the character of the Flautina, which I would think is more of a diapason type of register. If it is a flute, I would add a 15th and get rid of the Larigot. If it is a true 15th in all but name, I would possibly just leave it as it is, but somehow get a 16ft octave to complete the Oboe. Without radically altering the whole Swell, and for the reasons already stated, the big Swell effect is never going to be obtained, short of installing all new reeds and an expensive new Mixture. Of course, if there is room to squeeze in a 19:22 Mixture, to replace the Larigot, that would be better. I wonder what was there before?
Swell
Violin Diapason 8'
Rohr Flute 8'
Salicional 8'
Voix Celeste 8' TC
Gemshorn 4'
Lieblich Flute 4'
Flautina 2'
Larigot 1 1/3'
Contra Oboe 16' TC (orig. Oboe 8')
Cornopean 8'
Tremulant
Super Octave
Unison Off
Sub Octave
The Pedal is possibly the weakest department in the current organ, and my greatest objection is the use of the 8ft Great Principal as an extended rank. This makes the Principal "off chest" for starters, but also, means that the Pedal notes are the same as the middle octaves of the Great 8ft Diapason when the 15th and Octavin, ( 4ft and 2ft) are being used.
In such a limited department, a reed is possibly a better alternative to this extended upperwork, and on this basis, the Great Trumpet (8ft), now placed on the old extension chest, could be extended down to 16ft with a new bass, and taken up to 8ft and 4ft on the Pedals. A better 4ft would probably ensue by extending the 8ft Octave further, assuming that is made of metal pipes, as I suggested, because in my experience, the 8ft metal octave first blends with the wood basses, and then becomes progressively more Diapason like as the notes go up.....a very nice feature of Brindley & Foster organs, and far better than those awful Octave Woods. Brindley's probably got this idea from Schulze at Doncaster, where there is one of the earliest
extension pedal organs.
The Pedal would then look like this:-
Pedal
Resultant Bass 32' C/D
Principal 16' C
Sub Bass 16' D
Octave 8' C
Bass Flute 8' D
Fifteenth 4' C
Octavin 2' C
Trombone 16 (Ext. from Gt 8ft)
Trumpet 8 (from Gt)
Clarion 4 (Ext from Gt 8ft)
Finally, a third manual, which could be small, (enclosed or unenclosed) and perfectly functional.
Knowing the sort of voicing used by Brindley & Foster, the following would make a perfect little foil to the Great, and would NOT be a baroque positive in any shape or form.
Choir
Stopped Diapason 8
Nason Flute 4
Principal 2
Recorder 2
Sext (12.17) 2 rks
It would stand alone, act as a second chorus successfully and provide the solo (English) cornet effect, as well as add to the whole by coupling. Can anyone live without a 2ft Flute?
Well, I like it anyway.
MM
This is a good explanation.
I can provide some information about the old organ.
Firstly, my organ teacher (also the builder who is rebuilding the organ) told me when he showed me inside, that the 16-ft Bourdon was originally on the Swell.
And about the Harmonic Flute, I have a feeling it may have a stopped bass octave. Would this be B&F? Another NZ example in Auckland had a Tenor C Harmonic Flute, but this may have been done in the Norman & Beard rebuild.
As for the Pedal, I too would get rid of those Principal C extensions. I have a feeling the Open Wood may have been wood all through, but I would extend it down to 4-ft, and maybe the flute to 4-ft aswell as this can be handy. If there was originally a Large Open on the Great which is the Open Wood on the pedal, it could be possible to borrow this upwards to the Great with extra pipes. There is only one organ I have seen this done on but the Open Diap was all Metal.
I quite like the Choir design as well. I'll see if I can go into the organ and get some photos for you guys at the weekend.
JA
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While I await (with interest) this scheme, I recall that you mentioned a four-clavier instrument. With this in mind, I offer the following:
PEDAL ORGAN
Sub Bourdon (Ext.) 32
Contra Bass (W) 16
Violone (M) 16
Salicional (Great) 16
Bourdon 16
Octave (M) 8
Violoncello 8
Flute (Ext.) 8
Fifteenth 4
Mixture (12-17-19) III
Contra Bassoon (W; ext.) 32
Grand Bombarde (M) 16
Bassoon 16
Trumpet 8
Shawm 4
Chaire to Pedal
Great to Pedal
Swell to Pedal
Bombarde to Pedal
COMBINATIONS
Pedal and Great Pistons Coupled
Pedal to Swell Pistons
Generals on Swell Foot Pistons
CHAIRE ORGAN
Open Diapason 8
Wald Flute 8
Stopped Diapason 8
Prestant 4
Chimney Flute 4
Quint 2 2/3
Recorder 2
Tierce 1 3/5
Octavin 1
Cimbel (29-33-36) III
Tremulant
Swell to Chaire
Bombarde to Chaire
GREAT ORGAN
Contra Salicional 16
Quintatön 16
Open Diapason 8
Rohr Flöte 8
Flûte Harmonique 8
Cone Gamba 8
Octave 4
Gemshorn (Conical) 4
Flûte Harmonique 4
Octave Quint 2 2/3
Super Octave 2
Mixture (19-22-26-29) IV
Bass Trumpet 16
Posaune 8
Clarion 4
Chaire and Great Exchange
Chaire to Great
Swell to Great
Bombarde to Great
SWELL ORGAN
Open Diapason 8
Flauto Traverso 8
Viole de Gambe 8
Voix Célestes (CC) 8
Geigen Principal 4
Suabe Flöte 4
Fifteenth 2
Plein-Jeu (22-26-29) III
Corno di Bassetto 16
Hautbois 8
Voix Humaine 8
Tremulant
Cornopean 8
Clarion 4
Sub Octave
Unison Off
Octave
BOMBARDE ORGAN
Montre 8
Flûte à Pavillon 8
Principal 4
Furniture (12-15-19-22-26-29) VI
Cornet (1-8-12-15-17: TG) V
Cremona 8
Tremulant
Bombarde 16
Grand Ophicleide 8
Orchestral Trumpet 8
Orchestral Clarion 4
Sub Octave
I like this scheme, but you'd need something like a Mansion (or a very big room) to fit it all in. Then again you would with this one aswell:
GREAT ORGAN
Double Open Diapason 16' A
Large Open Diapason 8' (high press.)
Medium Open Diapason 8'
Small Open Diapason 8'
Claribel Flute 8'
Stopped Diapason 8'
Principal 4'
Flute Harmonique 4'
Twelfth 2 2/3'
Fifteenth 2'
Mixture IV (17-19-22-26)
Cornet V (1-8-12-15-17)
Trombone 16' (high press.)
Tromba 8' (high press.)
Harmonic Clarion 4' (high press.)
Swell to Great
Swell to Great Octave
Swell to Great Sub Octave
Choir to Great
Solo to Great
SWELL ORGAN
Bourdon 16' B (high press.)
Diaphonic Diapason 8' (high press.)
Geigen Diapason 8'
Lieblich Gedact 8'
Salicional 8'
Vox Angelica 8' TC
Principal 4'
Lieblich Flute 4'
Fifteenth 2'
Mixture III (15-19-22)
Hautboy 8'
Vox Humana 8'
Contra Posaune 16' C (high press.)
Posaune 8' (high press.)
Harmonic Posaune 4' (high press.)
Tremulant
Super Octave
Unison Off*
Sub Octave
CHOIR ORGAN
Lieblich Gedact 8'
Echo Dulciana 8'
Dolce 8'
Viol d' Orchestre 8'
Voix Celeste 8' II
Unda Maris 8'
Flauto Traverso 4'
Harmonic Piccolo 2'
Schalmei 16'
Orchestral Clarinet 8'
Orchestral Oboe 8'
Tremulant
Super Octave
Unison Off*
Sub Octave
Swell to Choir
Solo to Choir
SOLO ORGAN
Harmonic Claribel 8'
Concert Flute 4'
Orchestral Trumpet 8'
Tremulant
Bombarde 16' (high press.)
Tuba Mirabilis 8' (high press.)
Tuba Clarion 4' (high press.)
Super Octave
Unison Off
Sub Octave
PEDAL ORGAN
Sub Bass 32'^ F
Open Diapason Wood 16' D
Open Diapason Metal 16' E
Violone 16' A
Bourdon 16' F
Echo Bass 16' B
Octave Diapason 8' D
Principal 8' E
Flute Bass 8' F
Fifteenth 4' D
Octave Flute 4' E
Contra Posaune 32' G (high press.)
Trombone 16' G (high press.)
Echo Posaune 16' C
Trumpet 8' G (high press.)
Great to Pedal
Swell to Pedal
Choir to Pedal
Solo to Pedal
COMBINATION COUPLERS
Pedal to Great Combinations
Pedal to Swell Combinations
Wind pressures from 4" to 15"
Pressure-Pneumatic or Electro-Pneumatic Action
* Only installed if electro-pneumatic
^ Could be changed to Double Open 32' depending on space and funding
This would definately be my dream house organ. It is based on the design of the Wellington Town Hall, New Zealand, Norman & Beard 1906 organ. This would be the best restored organ in New Zealand. Norman & Beard also built the Auckland Town Hall organ which was a bit bigger than this but pretty much the same specification. The Auckland Town Hall is being rebuilt at the moment by Klais, as it was 'mothballed' in the 70s with only 11 original ranks still in the organ.
JA
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I would have the following - it would have to be strewn around the house, so mechanical action is out, but my technique is certainly not good enough for this to make very much difference!
Pedal
Open Wood 16 (all up the stairs and and on the landing)
C Bourdon 16 (extended from Swell)
Great (in the hallway)
A Open Diapason 8
A Principal 4
A Fifteenth 2
B Clarabella 8
B Wald Flute 4
B Twelfth 2 2/3
Swell (in the cellar with shutters under the stairs)
C Stopped Diapason 8
C Lieblich Flute 4
Mixture III
Unda Maris 8
Oboe 8
Trumpet en chamade 8 (over the front door)
As many couplers, octaves and sub-octaves as the electronics will allow. (Pedants please note that they would be for very sparing use only
)I think this would physically fit into the vicarage, and so would a console if I threw out all the theology books!
This is an interesting scheme. I'll post my bigger scheme afterschool.
JA
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It appears, at face value, that the instrument has not changed too dratsically from the Brindley & Foster original, which means that the reeds will be quite thin in tone and the Swell will be less assertive than the Great.
From the information given, we do not know if the original chests are still there, or how the 8ft Great Principal and 16/8ft Bourdon extensions have been achieved. This is fairly critical, because it affects what is and what is not possible.
I could make certain guesses, knowing what B & F did, but a bit more information would help.
MM
I think that most of the chests would be original, but with extra slides added in the rebuilds.
The Principal 8' and Bourdon 16/8' ranks are on a separate chest to the side of the Great soundboard, but I'll see if I can find some more info about this.
JA
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Unlesss the winding is very short, doesn't a reed only use 1/3 amount of wind than a flue stop? I wouldn't have thought that a low pressure Gt. Trumpet and Ped. Trombone would have a drastic effect, and certainly not enough to need a new blower, surely?
That could be true, although I've never done any study into that so I'm not exactly sure. The choir division would probably need its own reservoir.
JA
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This is a really interesting design - I could live with this, although a Swell Sub Octave would also be useful. How big is your house, then?!
If we are allowed a good-sized space (and if I were to win the National Lottery), I should like something along these lines:
PÉDALE ORGUE
Contre-Basse 16
Soubasse 16
Grosse Quinte 10 2/3
Violoncelle 8
Grosse Flûte 8
Flûte 4
Bombarde 16
Trompette 8
Clairon 4
GRAND ORGUE
Bourdon 16
Montre 8
Bourdon 8
Flûte Harmonique 8
Prestant 4
Flûte Douce 4
Doublette 2
Fourniture (19-22-26-29) IV
Trompette 8
Clairon 4
RÉCIT-EXPRESSIF
Diapason 8
Flûte Traversière 8
Viole de Gambe
Voix Célestes (CC) 8
Flûte Octaviante 4
Flageolet 2
Cornet (12-15-17) III
Basson-Hautbois 8
Trompette 8
Voix Humaine 8
PÉDALES DE COMBINAISONS
Tirasse G.O.
Tirasse Récit
Récit 16p à G.O.
Récit à G.O.
Octaves Graves (Récit)
Machine G.O. (Barker lever)
Anches Pédale
Anches G.O.
Anches Récit
Tremblant (Récit)
Expression Récit
OK - so it was a big Lottery win (I wish) and the house is huge....
If it has to be the same size as your original scheme, let me know.
I quite like your specification, that would be quite a good organ.
I had based my specification on a William Hill 1879 organ in Australia, although a bit bigger.
There is no size limit on this. I was thinking of a bigger organ, say about 4-manuals or something, which I might post soon.
A man I know in Christchurch, NZ has a 4-manual organ in his shed. I think it must be a pretty big shed but I've never seen the organ.
JA
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I've been looking around on the forum and have not really found much (or maybe I just missed it) on house organs, but I apoligise if I have repeated another topic.
So I want to know what your dream house organ would be like.
I think mine would be somewhere around this:
GREAT ORGAN
Open Diapason 8' (used in facade)
Stopped Diapason 8'
Principal 4'
Fifteenth 2'
Trumpet 8' (prepared for, pending on funding)
Swell to Great
Swell Sub Octave to Great
SWELL ORGAN
Open Diapason 8' (notes 1-12 grooved from Lieb. Gedact 8')
Lieblich Gedact 8'
Gamba 8' (notes 1-12 grooved from Lieb. Gedact 8')
Gemshorn 4'
Oboe 8'
Tremulant
PEDAL ORGAN
Bourdon 16'
Great to Pedal
Swell to Pedal
3 Combination Pedals to Pedal & Great
3 Combination Pedals to Swell
Mechanical Stop & Key action to both Manuals & Pedal
Around 2 1/2" (63mm) wind pressure.
Have fun!
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And how about (yet another) 'set top box' above the left jambs (like on the right)? Seems easy ...
Yes this could work, they could possibly have another console just for the Celestial organ maybe.
They have done this somewhere else, although I can't exactly remember where and they had parts of the organ available on a separate console.
JA
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Except that any Pedal combinations which are set to balance the G.O. are unlikely to balance the Swell. In addition, I presume that the departmental pistons do not affect the couplers? There were examples of some H&H organs (and possibly instruments by other builders), which utilised piston setter-boards, with three-positional switches. These had provision for affecting the couplers to each division. The organ of Exeter Cathedral was one instrument which had this system. It was useful in that the third position (well, actually the middle position) was 'neutral'.
Yes, you are right about this. The pistons don't affect any couplers except the Swell pistons work on the octaves etc. There are the usual reversible thumb & toe pistons though. I think it could be useful if the Swell pistons could have their own pedal settings, but this could probably be part of the new capture system.
I also agree with you about the Choir Dulciana. If I use it at all, it is nearly always with the Stop'd diapason, so I think what you intended would probably be the better choice.
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Undoubtedly - but you made no mention of the availability of extra funds to purchase this extended rank - or for the chest and action. In addition, would the present blowing apparatus and wind supply be adequate for these additions?
Yes, sorry I should have mentioned that there would be extra funding for new ranks.
As for the wind supply, the current wind pressure is 3 1/2" and there is a double-rise reservoir, but another might be needed for the additions.
Mmmm - but does this not simply give the same pedal combinations as those which are set on the Pedal pistons - which presumably balance the settings on the corresponding G. O. pistons? Or, does it give a second set of Pedal combinations, to balance the Swell settings - in the same manner as a Harrison & Harrison Pedal to Swell Pistons?With the SW & PED piston coupler, it does the same as the GT & PED piston coupler except if you push any piston they affect all departments which pretty much gives you General pistons - except for the fact that if you want to adjust them you have to do alot of soldering.
I assume that in the rebuild we will be including a Peterson ICS-4000 capture & transmission system as we have been with alot of other instruments we have rebuilt.
For the record - how often is Herr Meisner likely to play the instrument?That was just one recital he was giving in Timaru. He has been travelling around NZ.
The extra clavier department - what form would this take? Given the design of the rest of the instrument (and assuming that someone in the congregation is happy to die in the near future and leave a legacy to pay for it), a Choir Organ, of fairly standard design would seem sensible; perhaps along the lines of:CHOIR ORGAN
Claribel Flute 8
Violoncello 8
Lieblich Gedeckt 8
Salicet 4 (Or Gemshorn 4†)
Suabe Flute 4
Flageolet 2
Clarinet 8
Tremulant
Trumpet (G.O.) 8*
Sub Octave
Swell to Choir
* Assuming that the legacy will also embrace this rank....
† This stop should have conical resonators, with a 1:3 ratio taper.
Yes, this division would be a Choir organ. The old Great Dulciana 8' could be moved to the Choir and a new or 2nd hand (depending on how much funding is available) Gamba 8' could be installed on the Great. But it would probably be along the lines of what you have put.
JA
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Without seeing the church or the instrument - and without hearing it, I would suggest the following:
PEDAL ORGAN
Contra Bass 16 C
Sub Bass 16 D
Quint 10 2/3 D
Octave 8 C
Flute 8 D
Fifteenth 4 C
Great to Pedal
Swell to Pedal
Swell 4p to Pedal
COMBINATIONS
Pedal and Great Pistons Coupled
GREAT ORGAN
Bourdon 16 A
Open Diapason 8
Stopped Diapason 8 A
Gamba 8
Octave 4
Harmonic Flute 4
Twelfth 2 2/3
Fifteenth 2
Mixture (17-19-22) III
Swell 16p to Great
Swell to Great
Swell 4p to Great
SWELL ORGAN
Open Diapason 8
Rohr Flute 8
Salicional 8
Voix Celeste 8 (C13)
Gemshorn 4
Lieblich Flute 4
Flautina 2
Mixture (19-22) II
Hautboy 8
Cornopean 8
Tremulant
Sub Octave
Unison Off
Octave[/font]
This seems like a good specification, but I think I would probably find a Gt Trumpet 8 and a Ped Trombone 16 ext. useful.
On the current specification, on Sw#4 the octave coupler comes on so we get the mixture (19-22) then, but would be better as a separate stop.
We also found that the Pedal & Swell Piston Coupler was useful in a recital we had recently with Andreas Meisner, as he is only used to organs with general pistons.
- surely one of the most thrilling endings ever achieved by simple means....... ?)
)
Digital Organ For Practice
in General discussion
Posted
Has anyone had any experience with Rodgers Instruments. They have some all right organs, but last time I got a quoted price they were pretty horrendous prices in New Zealand.
Does anyone know if Wyvern ship organs to other parts of the world?
JA