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John Robinson

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Everything posted by John Robinson

  1. Only a minor point, I know, but why is the forum clock (see RH side of page at the very bottom) STILL one hour behind? We 'sprang forward' in March. This is a little confusing when I visit the site each day. I have to remember the time on the previous day when I last visited - minus one hour - when I want to pick up from where I left off. With my ageing mind, this is not as easy as you might think! John
  2. As no-one here seemed to know, I contacted Klais. Their response: "The two Tubas in Cologne are different in tone color. One is rather on the dark side like an English Tuba - in the direction of a dark Willis. The other one is much brighter, rather like a bright Skinner. The two high pressure reeds in the transept organ are again brighter than the two new horizontal ones. So we have four Tubas in the entire instrument ranging from very dark to very bright." So far, so good. Now, what does a 'bright Skinner' (tuba) sound like - compared to English tubas? The only American sounds I am familiar with are what I hear on The Simpsons! John
  3. No, they were quite specific: 32' + 21 1/3' from the 32' reed. The word 'resultant' was my inclusion. John
  4. I have just discovered that it is intended to insert a stop by the name of 'Donner 64' at Altenberg Cathedral, Germany. I have been informed by the builders (Klais) that this is to be a resultant derived from the (also prepared for) Contraposaune 32'. I was rather astonished to hear this, as I thought it was not possible/effective to make a reed resultant. I think this must be a unique concept but, of course, I stand to be corrected. John
  5. Could it possibly be a short-compass 32'? - (Insufficient space/money for full length?) John
  6. This got me thinking. How DO you get to a 32' reed/shallot without lifting the resonator? Perhaps the boots should have little doors! John
  7. You got it! I found the only way to get them to respond was to write to Qualitas and my local Trading Standards Dept. My apologies, everyone, for abusing this organ forum. I shall say no more! John
  8. Not an organ issue, but don't you find these days that no-one seems able to read what you write to them? Certainly I have found this with a well-known DIY store I have been having problems with. John
  9. Many thanks to all who responded. This has been most enlightening. From the information you have kindly supplied, I assume that 'steppers' move through the generals as set whereas 'sequencers' provide a series of combinations completely independent from the generals. I had previously thought that they were the same thing. One question that remains, if you will excuse my persistence, is how do the Germans manage so well without (usually) the benefit of divisional pistons? From your responses, divisionals seem to be the most useful option on most occasions. John
  10. As a non-playing member of this forum (my interests are mainly design and history), I would be grateful if anyone with practical experience could advise me of the comparative usefulness of different types of piston. As I understand it, there are basically three methods of rapidly changing combinations of registers: divisional pistons general pistons sequencers I assume that sequencers have great value when preparing for a recital, where one can step through an entire programme of music using only one piston, but what are the merits of divisional pistons as opposed to generals? The consoles of most English 'cathedral-sized' instruments always seem to include divisional pistons whereas the Germans appear often to avoid them, many consoles having general thumb pistons beneath the lowest manual only, presumably to allow the manuals to be placed closer together. Can anyone explain this difference in approach to accessing combinations? What are your personal preferences? With the potential of programming thousands of general combinations (using modern digital systems), are divisional pistons redundant? On a similar theme, what are your opinions of thumb pistons duplicating the stop controls for individual couplers? John
  11. Most interesting. This clarifies the diagram on the Cologne Cathedral web site (which I quoted earlier). I would be grateful if anyone could enlighten me as to how the two stops differ in sound. I am dying to know Klais's perceptions of how to represent the Archbishop and the Cathedral Chapter using tubas. As someone said earlier on this thread, I wonder which one is the fatter! (No disrespect intended, of course). John
  12. For any who found it hard to believe: http://www.dombau-koeln.de/index.php?rub=5.1&eintrag_id=102 Sorry, it is in German. (I used http://babelfish.altavista.com/)
  13. Excellent! All organs should have one!
  14. Yes, I'm pretty sure they are not a figment of my imagination(!), and will be made by Klais. I understand that they will rejoice in the names of: - Tuba Episcopalis 8' (which I can make sense of), and - Tuba Capitularis 8' (the meaning of which I have no idea!) John
  15. Motette CD 12191 Apart from several additions, including the ones cited in this thread and some high-pressure tubas, the whole organ was raised by six feet, apparently to increase the output by better reflection from the vaulting above it. I, too, am pleased that there is now a celeste on the transept organ; a voice that has been lacking since it was first built. It is also interesting that they retained several uncommon mutations, one - 'Aliquot II-III' - of which I would particularly like to know more about its composition. Perhaps someone can help. This is, in my opinion, an excellent recording in which BOTH organs may be compared. Although one can never be absolutely sure from recordings (for example, microphone positioning), both organs sound very impressive on this CD. I now await a recording following the installation of the 40" west end tubas due this year, I believe!
  16. The Tuba Mirabilis is, for the most part, horizontal, although the boots and part of the resonators are vertical. In a way, they are indeed 'wound round like a french horn'! There is an excellent photograph of an internal view of these pipes in the booklet 'The Organs of York Minster. I could post it on this site if I knew how! John
  17. Having just read the new 'LATEST' (read only) forum, I should just like to thank Mr Mander and other moderators (?) for their perseverence in the face of recent problems with the web site and its use. I'm sure we are all grateful for their provision and maintenance of this facility. John
  18. I find this a very interesting topic, but note that no comment has been made about 'balanciers'. As I understand it, their function is to reduce the weight necessary to open the pallet, and their use is generally restricted to the bass end of the soundboard. I'd be very grateful if anyone could comment on their effectiveness, not only in reduction of weight, but also in respect of response and repetition. Theoretically, well designed and regulated balanciers should be able to reduce the weight of tracker action, in even a large instrument, to next to nothing, if required. Obviously, there has to be a financial penalty, but do they have other drawbacks? John
  19. I remember attending a 'battle of the organs' at St George's Hall, Liverpool, many years ago. The 'combattants' were Noel Rawsthorne and Carlo Curley on his Allen touring organ. I heard afterwards that NR had been asked to tone down his registration to allow the toaster to compete. No contest! John
  20. And, in my experience, local education authority inspectors - one, in particular, who specialises in English! John
  21. Reminds me of the day, many years ago when I was quite naive, taking out my camera to photograph the Oude Kerk, in all innocence. All the nearby 'shop windows' were rapidly obscured by curtains. Realising my error, I beat a hasty retreat. John
  22. Except coronations of course! John
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