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Mander Organ Builders Forum


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  1. There's a chap, I think his name is Tim Trenchard, who might have the specs and can build them. He was looking after the Downside organ so plenty of experience there.
  2. The existing case is just a reworking, albeit done well of the 1910 case. Look at the amount of wasted height above it to the top of the arch which would give space to get pipework to use the vaults as a sounding board and project over the strainer arches to get down the nave. You could stack 3 divisions with modern winding systems in that space. The height of the the current 16' s in the case shows you can easily get a 24' pipe in the height available, remember you can make a centre tower too. As far as I can see and hear, the only way you'll get sound past the strainer arches is to go over them. They make a very effective wall - looking at the video with the 70's additions, is looks like H&H came to a similar conclusion. The nave triforium from what I remember would be a no go, not enough space and narrow openings to the arches and the nave itself is, by compaarison with other places with organs on the pulpitum, not that long. Look forward to seeing what they come up with.
  3. New 24' or 32' case, total internal revision to create an instrument that speaks effectively both ways with enough punch to get past the strainer arches, modern winding system, nave console maybe. Yes I think a totally new organ re-using existing material sympathetically but not slavishly is probably the only reasonable course of action.
  4. I might suggest that professional singers could reasonably be requested to perform lateral flow tests to inform their Covid status in a way similar to other professions. Amateurs not so.
  5. The organ is effectively a 60's JWW, 1965 I think, so no surprise to hear that the winding system is receiving some attention. The orchestral trumpet belongs to that episode of work.
  6. The first organ I ever played was reputedly by one of the Allens. The organ builder at the time strenuously denied that it was by Vowles. Early 1840s in a very protestant church about 15 miles from Bristol. The organ was originally placed under the tower at the back of the West gallery. Sadly it was changed rather unsympathetically by a local builder in the early 1970s and no longer exists, the church having gone the way musically of so many of that style having previously had a full choral repertoire sung by juniors and adults.
  7. Anyone with access to a copy of Laurence Elvin's book Pipes and Actions with find some useful detail about the instrument, written with assistance from Roger Taylor.
  8. It was Roger Taylor, ex R&D local rep who looked after it until he retired. With Julian Mcnamara as DoM I don't foresee any worries about the instrument.
  9. How wonderful if this was the case in the UK. Unfortunately many of our instruments in larger buildings simply do not possess the ability to roar down the main axis of the building and flood the space with sound. Our European and U.S. brethren seem to be far less regularly afflicted. It's always possible to use fewer stops, but once you've maxed out barring the Tuba that's about it.
  10. Stainer & Bell edition page 4 bar 1 RH written E flat ?should be E natural but at the end of the same bar E natural is annotated. Every rendition I have heard plays the first E as E natural. Thoughts please.
  11. Perhaps this image will help Just as I would expect it to be for the period.
  12. Voice and gesture commands already exist and are in mass production as part of the "infotainment" system in a number of premium German cars. A trawl of the internet suggests that they are still not entirely successful. With voice commands unless the organist was wearing a microphone i suspect that the sound of the instrument might corrupt the vocal data reading. An innocent conversation happening behind you could also lead to some very interesting registration changes.
  13. Whilst there are a number of aspects to consider within the debate, not least of which is a perception of musicality which is undoubtedly subjective but also emotional, one small but I think key factor was almost brushed over above. The comment about the Oxford college being unaware of it's use of an unequal temperament. When pinned down to absolute precision, equal temperament is a mathematical exercise, sometimes reached by accident when tuning but very regularly approximated to and identified as such, actually erroneously so. All temperaments are like this to some extent and by existence in the real world and the influencing factors found within it, are only as reliable in many instances for the duration in which they have been laid, and in some instances not even that long. Perhaps the debate leaves S_L cold because it is largely theoretical and at least with organs lacking in constancy. This in no way contradicts the amazing way in which some music comes alive when played on a period instrument with a period type temperament, and indeed the way some instruments themselves come alive when tuned as such.
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