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Lucien Nunes

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About Lucien Nunes

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    Newbie

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  • Website URL
    http://www.electrokinetica.org/d8/1/index.php

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  • Gender
    Male
  • Location
    London
  • Interests
    History of electrical and electronic technology. Early electric organ actions. Compton organs of all types - classical and theatrical - along with their electrostatic counterparts.

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  1. The Wormwood Scrubs installation is still in service, I think you are right about the Contra Tuba but don't have notes here to confirm this. With my specialism being action and electrics, what interests me most about this instrument is that it has one of the relatively few Compton electropneumatic relays. Lucien
  2. That is a good point - in 1930 Whitworth gives the date of the Estey design as 1923 but makes no mention of it in connection with any other builder. I had not realised they were this early. Must dig out some of the Compton patents when time permits. What about Compton's adjustable pistons? The all-electric selector action is ingenious but is it Compton's? Hill, Norman and Beard used a similar device that more closely resembled a crossbar telephone switch, Willis had something entirely different. But the work of American builders might reveal a forerunner of the Compton that was both entirely e
  3. I agree that overall they are pleasantly reliable as small lamps go, the filament is generous, adequately supported and underrun, however a console loaded with hundreds of aged lamps is in aggregate significantly at risk of a failure during performance. Some original lamps still exist but in order to minimise accelerated ageing of the stopheads by heat I am generally in favour of converting to LED, for which purpose we are testing a new substitute that is almost indistinguishable from the filament lamp, even in its speed of response. In the theatre organ world double-touch stopkeys are de rigu
  4. This thread has been silent for a while but is probably an ideal place to introduce myself and make a few noises about the very specific aspect of Compton's work with which I am familiar. I'm an electrical engineer and conservator of electrical technology, with a long-standing interest in the organ in both classical and theatrical guises. Perhaps inevitably, I have ended up spending an increasing fraction of my life inside Comptons, with and without soldering iron in hand. It is impossible to avoid drawing comparisons between Compton's electrics and other electrical equipment of his era, for e
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