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Rodrigo de Sá

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About Rodrigo de Sá

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  1. Dear Pierre: Too soon, I am quite new here and want to see what seems to interest most members. Moreover I do not want to give the impression I am only interested in hypothetical organs. But thanks for the suggestion.
  2. Curious, I feel quite the contrary. A quint 3 is usefull in counterpoint, especially if you draw the Quintadena 16 also. It strengthens the 8' tone and I actually find it usefull in counterpoint. That said, I do not like it all that much. Obversely, I very much like the sound of the II Rauschpfeiffe. The octave is stronger than the twelfth (at least that is how I like it). I do not like a 8 4 2 principal chorus in the Great Organ, but rather like a 8 4 3 2 or alternatively, 8 4 II. The penultimate variation of Von Himmel Hoch (Bach) sounds marvelously well with this registration on the right h
  3. I am new here, but there really is no better presentation than designing the specifications of an organ. This one is strongly continental European in concept and it is what I would like in an organ for myself. I am assuming a medium-large sized european church, rather reverberant and I understand the organ is opposite to the altar, and the pipes some ten meters above ground. Tracker action; shove coupling II+I and I, II, III+P. Compass to g and to d (of f) in pedals; straight pedalboard. Electrical combinations. No swell. This is a baroque oriented organ. I did not count the stops So:
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