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SomeChap

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  1. Agreed, these are minor, reversible changes. No cultural heritage is being irrevocably destroyed, no money is being irresponsibly wasted, no employment law s being breached, no-one's health and safety is being endangered, asset values are not being diminished, you are not compromising the building's accessibility. I don't see the harm in this instance.
  2. Pleasing to hear that our armchair musings might be of some practical help! I don't know for sure of course, but I have a hunch that claribel might be too loud at 4ft? Suck it and see, I suppose. Good luck!
  3. PPS With a real 4' flute you'd also get access to 8 OD + 4 Fl combination as a step down in volume from the 8+4 Principals - v useful at mp / mf, and not possible with the octave coupler option. ------- Warning: cheeky second-glass-of-red-wine suggestion coming! If you kept your ear to the ground regarding redundant / derelict organs in the area you might even be able to get the pipework for free! Then you and an accomplice can just swap the pipes across in the dead of night, tune them up, and you'll have cost the church nothing. No fund-raising, no faculty, no Parish Council politics. Take care of the old pipes, and you'll have done nothing irreversible; indeed, you could possibly try different things out until you get what you feel you need. (I won't tell anyone if you don't!) I feel like I'm about to get told off. Ooh, my glass is empty ...
  4. Cross posted with Colin. Also just spotted your manual compass only goes up to F3 which means that any combinations made using the octave coupler would conk out from F# at the top of the treble stave. HTH.
  5. Sorry, I can't comment on expense / feasibility of adding octave couplers in small organs. However when I was a lad I had an organ with a nearly identical stop list to play on Sunday mornings (1870s Bevington I think), and the same backbone of a good set of 8 4 2 diapasons. It did have an octave coupler, but (critically I think) it didn't have the stop diapason treble. The claribel with its own octave was disgusting. The principal chorus 8 4 2 with octave coupler was, shall we say, to be used sparingly. The dulciana was useless with or without the octave coupler (except to give some temporary relief from the claribel). In other words, the octave coupler got used rarely! Still, I would probably have used it more if I'd had a stopped diapason. Of course I haven't heard your instrument so I could very well be on the wrong track, but prima facie I'd be much more inclined to send the Claribel Flute and Dulciana to the scrap yard (I don't get why Victorian organ builders were so keen on them!) and replace them with a nice, gentle, warm, wooden stopped 4ft flute and a twelfth. If the twelfth is also gentle and not too bright then you might then get some value of having the octave coupler with Diapasons 8, 4 and 2 2/3 to make something approximating a mixture chorus?? I'm dubious though. I guess you'd also be able to make a flutes 8, 4, 2 approximation with your octave coupler. How fat is the Open D? It might be over-bearing with its own octave? On balance I don't personally think the octave coupler would add that much tbh. You'd also need to be sure the wind supply would hold up. (ps I've been rude about my Bevington but we were good friends really! It was the right size for the building, which was small but had a bit of reverberation, and the congregation sang really heartily which they wouldn't have done if it had been a bad organ.)
  6. Hi, I don't know the organ well and only had 2 mins to take a couple of photos. Below the keys of each manual is a wooden bar running the length of the keyboard (most organs have them). Based on the notes on the music desk, these bars seem now to have the facility to act as Sequencer Advance controls if you push them. I didn't try. As far as I can see, the only registration aid is a sequencer which can be set up for many different organists, operated either by the combination pedals to the right of the swell box, or by the coloured buttons on the new slidy-thing to the left of the keys, or by the touch-screen to the right of the keys. I could be wrong though, and will leave it to someone who knows the instrument better if you want to know the full gory details! I understand there were no registration aids at all previously.
  7. OK, they should be working now. (I won't bore you at length but that was a right old mission! Google Drive obfuscates the URLs of your images, and is very thorough about it. I ended up transferring them to flickr so I could get hold of direct URLs. Grrr. The good news is I added in two extras, including one of Trinity Chapel looking gorgeous in the sunlight!)
  8. Apologies, I'll try to fix this evening. Must be something to do with google.
  9. I quickly grabbed a few photos in the organ loft at Trinity the other day in case they were of interest. I was jealous of the nice little colour lcd screen nestled neatly in the woodwork above the music desk for watching the conductor. I believe the wooden bars between the manuals act as sequencer advance buttons. It looks like there's USB connectivity of some sort as well. The stop action is still mechanical of course. The list of people having their own memory level made some interesting reading!
  10. Is Florence Cathedral's the most impossible reverberation in the world? I read somewhere it's about 20 seconds - certainly I remember the building just never fell silent during a service when I was there. Mascioni did a major rebuild in 2017 and I found their solution interesting (if perhaps not surprising) given the ocean of reverberation. There are eight manual divisions in six different locations around the dome, and four consoles! - NE segment of the dome = Great Organ (and main pedal organ, I think) - SE segment of the dome = Swell Organ - On wheels = Positive Organ (with its own pedal stops) (added 1990) - S of the dome at floor level = Choir Organ (with its own pedal stops) (c. 1970?) - N transept = 'Chapel Great' (with its own pedal stops) - N transept = 'Chapel Swell' - S transept = 'Echo Great' (with its own pedal stops) (added 2017) - S transept = 'Echo Swell' (2017) It seems the transepts are used as separate liturgical spaces so it seems to make sense for each to have its own organ. The five-manual and four-manual consoles control the whole lot (don't know why you need both); a 3-man console in the N transept controls the chapel organ plus the Great Organ, and a 2-man console in the S transept controls the Echo organ and the Swell organ. Phew! Anyone heard it? There's an impromptu demo here (terrible audio): link (youtube) - and a verbal description here which I've used as a basis for this post, though my Italian is far from reliable: link (youtube)
  11. ... hmm, I'm even wondering, assuming the wifi connection carries a MIDI-compatible data protocol, whether pipe organs might start to be played on a regular basis from arbitrary consumer MIDI controllers. Perhaps organ builders (or even third parties) could provide cheap portable wireless control boards for stops / combinations, which you simply prop up next to your clavinova? You could even integrate a score/pdf reader app on your tablet computer (OK, iPad!), having hot-spots in the score which link directly to registration changes when tapped, set up offline and ready to use when you get to church. I'm not suggesting the traditional console's days are numbered, but as e-books complement paper editions, so diverging control paradigms could help the organ evolve, and allow non-organists to play organs much more easily. Sorry, I've gone off-topic ...
  12. Yes, surely JC would have used them if they'd been available; they're cheap, easy to source, come in a range of shades of white and brightness, energy efficient and (above all) very reliable. I wonder, with LEDs for stop indicators and music-desk lighting, cheap low-power embedded computers for key/stop/whatever control and wifi for data transfer, is the truly wireless, battery-powered console a realistic possibility now?
  13. Hmm, the last posting that was primarily about Notre Dame was from last Thursday! We are a discursive lot! Thanks to SlovOrg for the link to M Cattiaux's facebook page. Re. the C-C console and mechanism: as I understand it, the stop-list has changed a lot since it was last in use (addition of 18-stop Resonance Expressive, loss of Recit chorus work, addition of Recit classique, loss of G-O Bassons (did they go to the Resonance?), Transfer of Clicquot Trompettes 16,8,4 from Solo to G-O (replaced by mixture-work), addition of chamades duplexed all over the place etc.), so it would definitely need re-modelling to a greater or lesser extent. The key actions are presumably now electro-pneumatic (though presumably the transmission between the console and the organ could in theory be down-graded from fancy-pants electronic to plain old direct electric) and the stop action is presumably electro-magnetic, so C-C's mechanism would all need to be replaced inside the console. It might therefore not make much sense to re-instate the C-C playing aids. Also looking at this picture there doesn't seem to be much room for thumb pistons between the keyboards - surely they would be missed! Basically you'd be rebuilding the console from scratch, but keeping the keys and the external woodwork. My feeling is that this is more of an act of historic vandalism than keeping the C-C console where it is now. I would guess that something along these lines was the reason why the old console wasn't recommissioned in 2012 when the all-new flashy modern console was built (which I rather like btw!). I wonder why they don't have a second console downstairs like at St-Eustache? It's surely perfectly possible technically? As it is, the organists have use the self-recording features in order to hear the organ from downstairs. I speak in the present tense as if the organ were still in use today! We can dream ...
  14. Many thanks to all for updates. It makes sense for there to be an English language source of the latest news on this organ, and this might as well be it. Does M Cattiaux 'do' social media?
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