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  1. Where does sound come from in flue pipes? If the body, why are pipes planted with mouths uniformly orientated? Does it actually matter, or is it simply that it looks good to the tuner? Why does it matter in pulpitum organs which way soundboards are orientated: east-west (eg Lincoln, York, Ripon, Wells) or north-south (eg Gloucester and presumably new Manchester) - especially when sound bounces about in those large buildings? Does it matter where big pedal pipes are situated? Do sound waves of low notes behave differently from those of the rest of the compass? Taking Ripon as an example, the pedal flues and 32 Bombardon are in the choir aisles east of the screen and in effect in a separate building with the mouths of the biggest open woods below aisle floor level. There is little space over the screen organ, and the openings from choir aisles to transepts are merely doors, so how does the pedal sound carry? I'm not aware of Ripon pedal being considered inadequate when heard from the nave. Or Lincoln - and Selby - where the 32 flues are in a triforium. And why was Downes determined to discard the 32 wood at Gloucester? Was it merely his doctrinaire prejudice because the pipes were yards away? Where does sound come from in reed pipes? If hoods help prevent insects losing their way, why are not all but the smallest non-capped pipes hooded? That'll do for starters.
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