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David Pinnegar

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  1. It's great to see the name and expertise, and this forum, going forward. Best wishes David P
  2. I'd like to agree with you but personally I haven't found the same experience and importantly it's not indexed by Google. One of the major ways that people find out about things is to be able to search and find things through the search engines and in this, both this forum and others are supreme. www.organmatters.co.uk is a place where organ enthusiasts, players and builders and appreciateurs alike can bring things to attention without worrying about anyone treading on anyone else's toes and, because it's found by Google, has a wide reach. FB in contrast is a rather claustrophobic place w
  3. I really hope that this forum or at least its content will survive in one way or another as it is a repository of really important information. Many people have gone to FB which is a move that I deprecate as wisdom there is lost in the instant. As Tony said above, www.organmatters.com exists and of which he, pcnd5584, Barrie Davies and Pierre Lauwers are admins. If anyone else would like to join the team please give us a shout. The forum is categorised trying to identify areas of interest and to encourage enthusiasm. In this country the buildings in which most instruments are ho
  4. Paul - your expertise speaks volumes. With regard to directional responses and the colouration from off axis sounds this has been apparent from the UHER M537 experiment - it is a directional mic but off axis it's the treble in particular that's diminished. Whether there are situations where that can be useful remain to be seen and it may be a better solo mic than in a stereo pair. The M538 is similar to the D200 - D224 family in having a parallel graph off axis to the on-axis response. There may be a reason why the D202 might be a little less tight in the bass than the D200 or the D224 -
  5. When I upload to YouTube it's often not what YouTube does but what the encoding software does when compiling the video so it's worth a five minute listen to the samples. The software I use gives options and I use the maximum audio bitrate and minimum acceptable pixel and frame rate so the uploaded YouTube recording is as accurate as can be through conventional reproduction equipment. Really interestingly a good musician friend likes the £10 TS5 dynamic capsule https://de.aliexpress.com/item/32846074174.html in a cheap body, as does the violinist, who also likes the cheap Frankenmic. But t
  6. Colin - always the voice of reason. Capacitor mics are often flat, as you say, although there's a fashion for a bit of high top treble boost and it's normally true that dynamics aren't flat. However my interest in the particular dynamics exemplified here is that . . . UHER M537 red and AKG D200 (blue line) and the D202 and D224 are equally flat extending to 12k and the D224 significantly towards 20k. The CM60 - red line has that 8k bump which gives the abrasive quality to the violin - and would do likewise for organ mixtures. Ignore the green lin
  7. I was really asking for people's opinions on listening to the recordings made with the particular microphones used. Cheap - yes the Takstar CM60s are extraordinarily cheap - and punch above their weight. Cheap but certainly not nasty. But the AKG D224s are and certainly never were cheap and are appropriately sought-after. They were studio-standard in their day and the D202s were so loved by the BBC that upon the 50th birthday of the BBC a commemorative stamp was issued which featured them with other iconic units. The D224s fell out of favour not because of being years out o
  8. In this world of streamed performances and increasing reliance on recordings, getting a recording right is pretty important. I've relied for a long time on digital recorders but separate mics can give better results. is a comparison of five mics - Takstar TS5 dynamic Takstar CM60 capacitor Frankenmic home-made/modified UHER M537 AKG D202 AKG D224 It would be really helpful to know which anyone considers to sound best. The recording is irrelevant to organ specifically but violin and piano gives a lot of range to give a good idea. Best wish
  9. Thanks - and glad the examples are interesting. It was especially fascinating to research the origin and context of these pieces and to see how, as originally conceived, they were masterworks of mood-music to accompany the art-installation for which they were conceived. Worthy of The Tate, the installation and accompanying music would be hailed as complete genius but at the time only a matter of curiosity. For anyone with the time and inclination, if anyone downloads the paper, I've detailed this there, and given further leads around and beyond the subject including a bibliographic histor
  10. Please forgive me for what is likely to be a very rough introduction to a thread which could probably be introduced more elegantly. As some know, I have an interest in tuning pianos, indeed an obsession, and this leads me into discussions beyond the confines of organs. Another tuner pointed a piano group to a curiosity of tuning - https://toposmedia.bandcamp.com/album/niels-lyhne-l-kkegaard-a-major-third-consists-of-9-different-notes-for-30-saxophones which personally I have found excruciating. I used to find Messiaen likewise but perhaps when we hear we can appreciate hi
  11. As one stumbles upon thing on YouTube by accident I've found a series of recordings which are in my opinion truly outstanding. Exquisitely virtuosic andJonathan Scott plays without the flash of either of the American CCs. He seems to have a penchant for instruments with en chamade reeds. https://www.youtube.com/watch?v=sP246iXyQ44 https://www.youtube.com/watch?v=sZN6tnEr0aM https://www.youtube.com/watch?v=U9BO1dazswE https://www.youtube.com/watch?v=PLb4_K2aqkI In my opinion he's worthy of special commendation. Best wishes David P
  12. Thanks so much for this. Now searching Iberian Organs on Google you've opened up the can of mysteries. https://www.thediapason.com/content/early-iberian-organ-design-and-disposition has some interesting information about the disposition of the typical instrument. Not wanting to bore everyone in asking questions of interest perhaps only to the most obsessive of organ nerds I'll merely quote a passage which opens up some technical differentiation that looks rather fascinating to me, and perhaps leave others to ask the questions that perhaps all of us may or may not like to know the a
  13. 😉 Not at all! But are there experts on historic Spanish organs here? I've been fortunate enough to be able to look at a simulation of one or two and haven't been able to make much of a head or tail of them. What similarities and potential differences are there between the typical 18th century early 19th century Portuguese instrument and the Spanish? Best wishes David P
  14. Thanks so much. That makes sense. Another puzzle is that the largest pipe of each organ is said to be 7m tall . . . Bottom note on keyboard is C. In addition to ranks labelled 12 there's a Dozena. 8ft or 12th? Then a Quinzena so assume 15th. Then there's fun with the Cornets . . . Corneta real VI Corneta Corneta eco (echo perhaps) And rhyming with that a Rebecao Corneta Inglesa - V and VI versions Some Cimbala seem intriguing too, accompanied by Recimbala and Sobrecimbala. . . At Porto I was able to sneak a visit to the console of the monastery o
  15. Thanks. I thought Aberto was open and Cheio looked like stopped . . . until I saw Cheio IV and Cheio V with Cimbala IV and Recimbala IV And what do the 12 and 24 mean? Presumably the Flautado is a more flutey sort of Diapason like the French. And what might be a Flauto Romano? The appear to be quite exotic animals . . . Best wishes David P
  16. Thank you SO MUCH for the pointer to Mafra. What an amazing place it is - a palace generally unknown that's the equal of Versailles and, yes, six organs in one Basilica designed to be played together. Quite a spectacle. Perhaps one day it might be possible to hear them in person. Other organs in other places have similar en chamade trumpets and oboes. Notably at the university town of Coimbra and in Porto also. Coimbra https://www.centerofportugal.com/poi/st-michaels-chapel-of-the-university-of-coimbra/ 1737 https://myportugalholiday.com/coimbra-portugal/igreja-santa-cruz-c
  17. Are there any experts on Portuguese instruments? Many are reputed to be old . . . Does anyone have any information on the 6 instruments commissioned for the Palace at Mafra? All 6 appear to have En Chamade trumpets and apparently there was music specifically written for the set of six instruments that cannot be performed anywhere else . . . Best wishes David P
  18. I don't understand the problem with clicks on the Tascam recording. Rather than playing back on the Tascam and recording again on the computer, you should simply be plugging the Tascam into the computer through the USB cable, uploading the file and importing that file into whatever you want to edit it with, and save. A slow computer means only that it takes a longer time. Buffer sizes are of no consideration. Best wishes David P
  19. Well the organ on a wider basis . . . . but the English organ in particular . . . so there's room for manoeuvre. As for other organs being streets ahead, yes - the processional organs of Spain to be carted around the streets deafening everyone such as http://www.atmos.cat/perl?num=1444774635 in Catalunya. Perhaps here we're referring to pipe organs of greater complexity than mere 4 rank barrel organs The larger examples of the instrument and its repertoire is intimately connected with ecclesia. Best wishes David P
  20. With the recent proclamations from the Church Of England https://www.thetimes.co.uk/article/church-of-england-sex-is-for-married-straight-couples-only-vl60czphl the organisation appears to be one in the throws of death, trying to cling on to any mantras as mere flotsam on the waves in mistake for anchors. With the death of the Church what future for organs? In my opinion any organisation leading to the understanding of the Creator and the beneficial influence that this can have on people's lives needs to rethink itself away from the follies of blind interpretation. As religious discussio
  21. High humidity seems to lead to fog . . . so I did a quick google and https://www.sweetwater.com/insync/effects-of-temperature-humidity-live-sound/ seems a very rational explanation. Best wishes David P
  22. But the key colour doesn't come from the fifths. It comes more from the thirds and in 1/4 comma there are four of them so there's quite a lot of intervals to hit which tweak the ears - and one of the most extraordinary pieces to play in meantone is Mozart's 2nd piano sonata. The middle movement is an exploration of everything sour, sorrow, frustration, anger, inconsolate grief, and everything about being buried in the grave and coming to life again in the third movement. The Mozart piano sonatas are particularly revealing in meantone. It's not just the fifths nor just
  23. I disagree with the expressed opinion on Meantone that it's hardly different to Equal. Couperin deliberately used sour combinations of sounds so as to create crisis points from and to which his music lurched. The opening Kyrie of the second of the Masses for Parishes and Convents is a very good example and those with electronic laboratory facilities might well try it both in Meantone and Equal. Meantone creates sounds which are wonderfully on edge whilst Equal merely sounds nice. Sanitised. Best wishes David P
  24. Yes. Quite. The instrument itself, tonal variety, and acoustic may be so overwhelming that other more subtle qualities don't hit one in the face. I was trying to find a YouTube video of one of these 18th century instruments which added piquancy to the mix of awe. Possibly it's audible in the Bach D minor at St Maximin where some aspect of the sound has excited comments of the right sort, but was looking for something less "in-yer-face". Certainly here it's the instrument and the acoustic that overwhelms although there's an added something. Perhaps https://www.youtube.com/w
  25. I think their organ software is very much in the course of development but they specialise in software that's small enough to run easily on a laptop, and it does, and perhaps their recordings don't yet do it justice. Arguably in contrast the piano software is really interesting and is even introducing pianists not only to historic tunings but historic instruments into the bargain. Last year I ran a seminar specifically on piano tuning http://hammerwood.mistral.co.uk/programmetuningseminar.pdf and the afternoon session started with a demonstration of the piano software - if anyone's interested
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