Jonathan Lane

As I understand it, and I'm sure someone will correct me if I'm wrong, the system works with two sliders, one for the single rank, and the other for the rest. Thereby, when you half pull the first slider is drawn, and when you continue to pull the second one is drawn. Another interesting method of producing a large spec off a small number of ranks, is the either/or principle, mentioned on another thread. Jonathan

Willis and Lewis were succesful in producing stops of differing character even if of similar/same name, I'm not sure some of our electronic organ builders are quite as succesful at it! Jonathan

Perhaps this is some new training technique David is using with the choir! Jonathan

I wasn't going to draw attention to the Willis at Salisbury! Jonathan

Isn't that the sort of thing Allen do, give every stop of a particular type the same name, regardless of pitch? Jonathan

You could make the same argument about Open Diapason, Principal, etc. To answer some of the comments to my Specification. The reason for not including an Open Diapason even with a stopped bass is space, what I have designed is feasible in our house, adding an Open Diapason would add too much space in my opinion. I chose a Cromorne because I like them, I take the point about an Oboe, although I would want it enclosed, and this organ wouldn't have an enclosed division. I like Cromornes, and the challenge of something in a house organ would be interesting. The bass octave may be useful, but I envisage the stop essentially as a solo stop and probably wouldn't use the bottom octave! Any, my thougts. Jonathan

Well having started this thread, and as yet not having said what I would do, here goes: 2 manuals & pedals Compass: Manuals: 56 notes (c1-g56); Pedals: 30 notes (c1-f30) 9 (10) stops; 6 (7) ranks; 310 (366) pipes Manual I (56 notes: c1-g56: 2 (3) stops: 2 (3) ranks: 112 (168) pipes) 1. Stopped Diapason 8’ (spotted metal, capped) 2. Nason Flute 4’ (stopped wood) Flageolet 2’ (spotted metal (Optional)) i. Manual II-Manual I Manual II (56 notes: c1-g56: 4 stops: 3 ranks: 156 pipes) 3. Stopped Diapason 8’ (mechanical borrowing from Manual I) 4. Gamba 8’ (spotted metal) 5. Prestant 4’ (spotted metal) 6. Cromorne (tenor C) 8’ (spotted metal (1/4 length)) ii. Tremulant (to whole organ) Pedal Organ (30 notes: c1-f30: 3 stops: 1 rank: 42 pipes) 7. Subbass 16’ (wood, stopped) 8. Bass Flute 8’ (mechanical extension from 16’) 9. Prestant 4’ (mechanical borrowing from Manual II) iii. Manual I – Pedal iv. Manual II – Pedal Awaiting comments! Jonathan

I'll see what I can find out, I know much more about C-C than Mutin, but I'm sure the information is out there, all cast my net and see what I catch! Jonathan

Is it this one? Edifice de conservation : église paroissiale Saint-Nicolas Matériaux : étain Description : jeu de tuba, 16 pieds, déposé dans la sacristie Etat : oeuvre déposée Précision état : jeu de tuba, 16 pieds, déposé dans la sacristie Auteur(s) : Mutin (facteur d'orgues) ; Cavaillé-Coll (facteur d'orgues) Siècle : 1ère moitié 20e siècle Date protection : 1990/05/25 : classé au titre immeuble Statut juridique : propriété de la commune Type d'étude : liste objets classés MH Copyright : © Monuments historiques, 1992 Référence : PM21002624 Jonathan

I think that is true, but quite often a success story (and I believe it is one) is achieved by someone with little or rudimentary knowledge, a fresh mind so to speak. I would definitely acknowledge the skill of H&H was part of the equation. Does anyone remember the fascinating Open University programme in which Simon Preston demonstrated the organ, some time during the seventies. Somewhere I have the soundtrack on reel to reel, but would love to see it again. Jonathan

As someone who loves the organs of Cavaille-Coll, William Hill, Henry Willis and others, I still rate this organ very highly, as I do Coventry Cathedral (perhaps not too controversial, but many don't like it) and Gloucester Cathedral (even more don't like this, but having played it a few times, and having listened to it accompany the liturgy daily for several years, I find it a very thrilling instrument). But everyone knows controversy is my middle name! Jonathan

As a student I went to the Bach/Handel/Scarlatti anniversary series, and these were well attended. We offer recitals at various times on our very fine two-manual 1990 Nicholson, in an excellent acoustic, often with outstanding performers, big names, to audiences of under a dozen, so I don't believe your argument holds up. I think there are many who would like to hear it, provided the timing was right, lunchtimes, after work, etc. I also remember the organ being a fine instrument in a poor acoustic, perhaps they should keep the organ and rebuild the hall! Jonathan

Whatever one thinks of the organ, and I was never quite happy with its effect in the building, it is an historically important instrument in an historically important building and in my view deserves to be fully re-installed and heard far more often. Jonathan

Excellent!

A veritable feast. Jonathan

I don't thin I would exclude harmoniums, but I suspect they were not really what I was thinking of when I set the task. I have heard some fantastic one and two manual harmoniums. Jonathan

Hear, hear! Jonathan

It's a pretty good shot too, so I will go to see the film, but I bet its not as good as the original. Jonathan

I like this too, but wouldn't be able to fit it in. I do like the work being done by the French builders though. Jonathan

Ah, I think you have summed it up, this was before the new generation of smaller builders who specialise in tracker. Jonathan

Did anyone see Numb3rs tonight on ITV 3. It ended up at Disney Hall. To start I thought we weren't going to see the organ, but when they finally got to the stage, there was a fantastic view of the organ in the middle of the screen. For future reference it is episode 17 of series 3, called 'One Hour'. Jonathan

Most organ builders today are pleased to offer practise organs, as they know the church work is much slower! I'd be interested to know who it was though! Jonathan

This is where my thoughts lie, I have a good mechanical organ to practice on, but no time to drive over there to use it, so something at home would be useful. The reasoning behind not all enclosed is simple, I would be quite happy to have none of it enclosed, if voiced correctly for the room. Jonathan

Despite doing 100 hours a week, I still find time to speculate on what I would do if I were to build an organ at home. So following on the threads about house organs, and generally what we would desire, here is a bit more of a challenge (well for most people I expect - we haven't all got the same space as Cynic!). The rules! 1. Design an organ that you would find of benefit to your own practicing. 2. It should not take up more space than you consider to be reasonably available to you (so if you own Blenheim Palace, there's no problem having 4-manuals and 32' stops, but if you live in a two bedroom flat, I think the 32's unrealistic!) 3. There should be no use of electronic stops. 4. You can use any sort of action. 5. You are not limited by money, so everything can be new. 6. Consequently, you can choose any builder. Guidance 1. I would suspect you need at least two manuals and pedals (but if your sole repertoire is English 18th Century and before you may want a divided one manual with long compass). 2. Unless you have lots of space, I would imagine you would want it on low pressure, so as to be acceptable to the ear. 3. I would counsel against having it fully enclosed or on extension (although this is personal preference). Well these are my thought, lets see how far people can go and how imaginative they can be, judging by past posts, I suspect we are in for a wealth of imagination. Jonathan

As I have said elsewhere, OR ceased to be of much interest when they changed format with the new editors, I get more information from here than I ever do from OR (I still read it from time to time when passed to me by a friend!) Jonathan