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Mander Organ Builders Forum


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About Lausanne

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    Organ building construction techniques, restoring pneumatic actions where appropriate, selection of materials to withstand humidity extremes, romantic voicing and the physics of it.
    Other interests: the usual steam engines, model railways, Victorian engineering and cycling everywhere to keep fit so I can still squeeze in narrow passage boards to tune.
  1. And the LEDs use low voltage, hence the transformer, usually at the plug-in end, so if you need to use metal as a shade there won't be a risk of shock.
  2. Perhaps my TV's sound system is better than others - or was it the generous volume I always require for the last night of the proms - but I felt that the organ was sounding as good as ever. This year I made a special effort to sing along with all the old favourites, particularly given the last minute U-turn of the BBC. Weirdly the main thing I missed was the raucous cacophony of car horns and klaxons during the horn pipe.
  3. Out of respect for physics, I'm sure you'll allow me to rephrase Maurice Grant's justification of low pressure wind.. Both liquids and gases are fluids. A high pressure gas is more like a liquid (molecules closer together), however, the lower the pressure the more fluid it is, so yes low pressure wind would pass more easily through any aperture. Once it arrived at the pipe though it would have less energy than high pressure wind and so there would be hardly any audible upper harmonics. Early organs for this reason employed mixtures to make up for this. Hand or foot blowing meant that high
  4. I feel that all your questions were answered by Colin most specifically, but perhaps you might accept a little more acoustics relating to how the lantern at Southwell manages to 'swallow' sound. As sound radiates in all directions, only that travelling in a direction through the relatively low arch on the other side of the crossing will be heard in the nave. The sound that hits the wall either side and above the arch will be reflected both into the east and west transepts and up into the lantern. As the dimensions of the crossing are both low and narrow, the sound will make several reflections
  5. And just to add even more to Colin's accurate description of why a candle would not be extinguished at the top of a flue pipe: the sound wave in the pipe is a stationary wave. The air particles are moving backwards and forwards in the direction of the pipe length but are not flowing far enough to extinguish a candle flame. in other words, air is not constantly blowing out of the top of the flue pipe (in a reed it is, but that's probably going to be Stanley's next question!). Another way to think of sound waves is as slight increases and decreases of air density. The sound waves then travel awa
  6. Making the pipes in sections would increase their strength and they would be far less likely to warp and split the longitudinal joints, which in today's constantly heated cathedrals is an important consideration. It is also likely that the cost of several shorter planks of wood is less than one long one and putting them through the planing machine would be a lot easier. As the sound is generated by alternating compression and rarefaction of the air at both ends of an open pipe, a few minor changes in density or flexibility at any lateral glue bond would not make any difference to the soun
  7. At the turn of the 19/20 century the Cavaillé-Coll company would regularly order reeds in from Merklin. Perhaps this explains why the Vox humana from Keighley did not look like an early Cavaillé-Coll reed. In this period the CC company were producing so many organs for export that out-sourcing was very often used. Concerning metal v. wood prices in 19th C Britain, assuming that the 32' metal pipes were made from zinc rather than tin which has always been more expensive than pine/spruce: After Napoleon blockaded the Baltic wood trade before 1815, prices rose until Canada's exports bec
  8. However, many 2 rank celestes do have both ranks quite close and function perfectly well. My celeste is separated by just one rank (bourdon 8'). If the two undulating ranks are placed too far apart, then any temperature difference (caused by winter heating etc.) might noticeably slow or speed up the undulation. I've read of the idea that pipes playing close together tend to pull one against the other, but I've yet to hear a physics-based explanation unless their mouths are close and facing each other. The C /C# pipe planting has more to do with weight and space distribution on the so
  9. Did Laurie mean to refer to Olivier Latry, or is there another organist we have never heard of whose name is not helping his career?
  10. There are a couple of pictures of the organ and console taken earier this year on the web: pic.twitter.com/Zv7RwCyEIK with visible evidence of it being used at least from time to time. And a pic of the pipes looking quite safe too!
  11. Audsley (Vol.1 p. 513) says that it is usual to complete the last octave of Clarions with labial pipes. He also quotes the French Regnier who says that in France the alternative to using labial pipes is to break back an octave at the top and to make sure the Clarion is drawn along with the prestant 4' and doublette 2' so the break is not so obvious. Reed pipes above those of an 8' rank are often replaced by labial pipes because they are harder to manufacture, almost impossible to tune and to keep in tune, and require a certain pressure below which they are unstable. As the vibrating lengt
  12. So, the answer to the original question is 'no, Nicholson decided/were advised to dispense with the free reed Clarionet 16'' '. Free reed stops are becoming very rare, I guard my 1878 Walcker Oboe very carefully, I don't care that it goes out of tune with the slightest temperature rise and that it does a creditable impression of a Harmonium. I'm just waiting for the organist of the Votive Kirche in Vienna to get fed up with his/hers so that mine is then the oldest in the world - well the oldest Walcker free reed oboe at least.
  13. According to the info included with Paul Derrett's 1989 recording the Solo Clarionet 16' is the original Anneessens free reed stop from the choir, or at least that was how Laycock and Bannister left it after their 1968 rebuild. I believe Nicholson's recent work has preserved all the Anneessens pipes.
  14. I refer the honourable gentleman to my previous post re finding a Tierce on a N&B of 1909. Although I agree the 1859 Hill specification for York has to be one of the oddest I've seen. And the general Tierce hunt has got its own thread now, but the game has some restrictions: A new organ built between 1895 and 1925.
  15. To keep the N&B 1909 Tierce topic free from our more general discussions, please use this topic if the (1895 - 1925) Tierce you have found was not by N&B. David
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