gazman
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Posts posted by gazman
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I have been using the Edirol R09 for a year and a half and it is a wonderful unit. The sound quality is simply excellent. This review is quite good and explains better than me:
http://transom.org/tools/recording_intervi...703_edirol_r09/
the review is out of date regarding sd cards. Mine has a 4GB card, which gives 4 1/4 hours recording time at 24bit 44khz.
I don't know much about HiFi CD recorders, so can't comment apart from saying that you must be able to connect them together and the R09 does have optical out. I always put my recordings onto my PC for editing and general tweaking and I use Wavelab, though Audacity is superb and free.
Peter
Yes, I quite agree. My Edirol 09 is a fantastic piece of equipment and records superbly. My only criticism is the silly flap at the bottom which has to be released to get at the SD card, batteries and USB connection. The flap is a poor design, and has already broken on mine, although that in no way interferes with the use of the unit.
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Tony, for the record,
Torquay St John had Latin named stops as they were (translated!) changed when I was an apprentice working on the organ circa 1948. I seem to remember All Saints Babbacombe also had Latin stop names but do not know if and when they were changed.
Regards,
FF
Yes, back in the 1860s/70s, W. Rockstro - the organist of All Saints', Babbacombe - was the local "organ consultant". He designed the specs of several of Torquay's organs. They were all much the same pattern, that of being rather sketchy four-manuals with Latin stop names. Apart from one instrument which is still a sketchy four-decker, all the others have now been reduced to three. The Latin stop names have gone from them all. St. John's retained its Latin stopnames longer than the others, right up until the rebuild by Walkers in 1957, not in 1948 as suggested by Frank. I know this as a local organist who was one of the two organists at the church for several months in 1954-5 still remembers the old four manual console with the Latin stop names on which he used to play. I believe that the old console is/was kept downstairs in the cellar in Torquay's museum.
Regarding Keraulophon, I've always said it as in "all", but have no authority for that!
And, with Cornets, I describe them with a "t" if we're talking about English organ music, and with "ay" if discussing anything "continental" - for what it's worth!
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Seeing this brings back memories of Thrasymachus, and Aristophanes and Plato set texts at school...
Does it? It seems all Greek to me...
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No, it shouldn't. This isn't about the interpretation.
(Have you ever tried Ardbeg 10 year old? I do recommend it!)
Thanks for the recommendation, Vox!
4a.m!! Have you ever tried going to bed? I recommend it!
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Even if Petra may still mean Peter, petra (without the Capital Letter) means rock.
Interesting though this is, would any new information about the meaning of the title really change the way any of us play it?
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Aaaaaaaagh!! indeed.
I thought it was reasonably good, actually! I've certainly had similar thoughts, and have once known my mobile' phone to bleep to let me know I'd received a text when I forgot to turn it off (this after the incumbent's instruction to the congregation at a wedding to ensure mobile 'phones were switched off).... *hangs head in shame*
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War March of the Priests (GF Handel)
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....as it is only 5 manuals....
ONLY 5 manuals? Ah, a tiddler then!
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This rank is not that visible. Unless one is looking for it, I suspect that most visitors fail to register its presence, unless it is pointed-out to them.
I find the cameras and TV system more obtrusive - the former somewhat spoiling the waist of the case.
Mostly agreed. The average visitor would probably not notice it but anybody who looks around the Cathedral with rather more of a discerning eye would. I only know this as, when it was installed, it was a non-organist friend who asked me what was now "sticking up by the organ". I couldn't answer, until I'd visited to see for myself.
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The 32' basses at Exeter are more intrusive than these.
Not at all! Nicely hidden away 'round the corner in the transept, and a source of interest to tourists who often ask whether or not they work!
Oh, unless you mean the new 32' reed....!
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Is that an intentional typo?
Dave
C'mon, you're surely familiar with Gordon Reynolds's "Snug Eucharist, Choral Matings and Evensnog" aren't you?!
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I will be interested to hear the new Dome tubas next month. I am sure, as in the case of all the Mander additions to this organ, they will sound very impressive. Not being the greatest fan of tubas, I do hope to be pleasantly surprised by the results.
Having said all this, I am not entirely convinced that the complete removal of the Father Willis Dome tubas is a good idea, at least on aesthetic grounds. Of all the tubas stops that I've come across they were, for me, the most impressive of the lot, and by some margin. The description 'hot coals' did indeed refer specifically to these tuba ranks. I just can't help but feel that if you readily remove such noteworthy ranks of a master organ builder, then surely the rest will follow in due course.
Oh well, if this does happen, at least we have the old recordings to fall back on.
One wonders were space and (evidently) money no problem whether it would have been better to have added the new ranks to the existing scheme, rather than to replace those originally there, in order to give a wider tonal palette, should the existing ranks be presently viewed as "unsuitable" for whatever reason.
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Interesting! But surely it's still the old play on "You are Peter"/"You are the rock"? (and I don't mean the former American wrestler!!)
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I think it's basically "should be played with Romantic registration such as Voix Celeste, etc. The solo voice can sometimes best be used with the octave coupler".
Hope this helps.
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We still don't know exactly how Bach registered those organs still extant, though, do we? At best, we can only offer conjecture.....
And organists of each "era" think they *know* what is right for Bach, and dismiss earlier ideas as being less well-informed. But, without factual registrations listed by Bach on organs which are extant, we're still guessing, however informed we think that guesswork to be.
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.....But when you investigate the Data.....
What data would this be, please, Pierre? As I think Vox has already stated, very little is known about Bach's registrational "practices". We can only make assumptions....
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Of course not....
.... it is to keep the organ dry.
Wasn't that what Sydney Campbell used to say, or am I thinking of the wrong person?
Of course, he was quite right.....!
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Were he a bishop, would he have to be mitred to fit the available space?
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Do shoot me down in flames (fanned by the red hot coals!), but I thought that the very descriptive phrase referred to the sound of the full swell and not the dome tubas??
But isn't the sound of the Full Swell there something splendid to behold?! I wonder what it is which makes some full swells have "it", and others not?
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Further to the Central Church Torquay; the new organ will be installed and voiced towards the end of this week.
Thanks for those details. PM sent.
G
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Ok, then, this begs the question. Why are organists - often very well-qualified, with skills above those expected of most fellow musicians (how many other instrumentalists are required to transpose, score read, sight read in public, rearrange at sight music written for other instruments (or just badly written music), train choirs, work with clergy etc?) - generally expected to work for so little?
Whilst I'm sure Vox has his tongue somewhat in his cheek, he has a very valid point. Dealing with an organ console uses skills which I can't think are often needed in other lines of work, and not even in airline pilots nowadays. How many others have to develop the skill to use hands and feet in the way organists do?
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Do these links help, Peter?
http://www.shropshirestar.com/2008/07/11/f...hropshire-2/14/
http://www.sundaymercury.net/entertainment...66331-21105972/
(see no 2 under Birmingham)
G
[EDIT: Mark's just beaten me to it!]
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Perhaps an accountant who also plays the organ could combine the two in order to make it a lucrative position!
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I'm going to be very, very unfashionable now and say that I'm rather sorry that Huskisson Stubington's scheme never came to fruition. Whilst not a repertoire-based scheme, it would have been a rather marvelous instrument, I suspect. In Stubington's time, to my understanding, the Milton was a bit of a mix-and-match and rather small as the main instrument, the Apse was rather more substantial than it is now (why the reduction in registers?), and the Grove needed renovation (as it did again only a short while after its 1980s renovation). Whilst the Milton has now been made a larger, coherent whole, the Apse has been shorn of much of its pipework, and the Grove (which I found to be a splendid instrument despite its limitations) has languished in the shadow of the Milton.
Correct Pronunciation Of Stop Names
in General discussion
Posted
And, for what it's worth (even less than the New Shorter OxDic!), so do I....!