Guest spottedmetal Posted March 7, 2008 Share Posted March 7, 2008 NOTE - 27th March - upon completion of this project the effect has been so successful that I have deleted specific details so that hopefully details of my work will have benefitted the pipe-organ community without being capable of reproduction by the toaster makers in competition. If any pipe-organ builders and or organ advisers interested in the effectiveness of what I've achieved and the possibilities of benefit to pipe-organs would like to hear the results or come and visit, please PM me. Best wishes Spot - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - Dear All Should this thread or topic be considered boring, or inappropriate please ask the moderators to delete it and I won't be offended. However, noting that subjects of house organs, both pipe and toasters have been mentioned before, I'm assuming that consideration of dream machines in the absurd might be fun for some, and I'd appreciate any unhelpful comments, rotten tomatoes or perhaps even encouragement and advice that anyone can bring, as options are vexing the grey-matter, and indeed the options available may point to experience valuable for others. As many are probably aware, I'm trying to give focus to the repertoire for the repertoire's sake, and the instrument's sake outside of the ecclesiastical context, partly for the reason that there are people around who would never be seen dead going into a church and partly because down in the South East and in East Sussex in particular one feels that organ life does not seem to be quite as lively or as appreciated as it appears to be in other parts of the country. However, to do justice to the whole repertoire, a delightful and versatile 10 rank Hunter can't quite make it . . . So I indulged in a toaster not to promote toasters, but to be better able to promote the music and provide a platform where organists can have fun in front of an audience. It was also felt to be partly a mental antedote to seeing off the progress of senility that has been taking hold of the grey cells since the age of 14 (how many of us are of the opinion that coping with larger works on a larger instrument wards off brain decay? Is this a marketable attribute to encouraging organ playing?). The toaster was an interesting beast, having adequately served public duties for a dozen years, and in learning my way around its technicalities, I began to appreciate that it was non-standard, someone rather brilliant having got at it and directed different things on different channels. It was with great excitement that I recieved a PM on this board from the genius who had designed it . . . The non-standard channel allocation enabled me to start improving on some of the speakers, making each more fit for the purpose of reproducing the stop intended, and the results started showing through. After its first outing in which I thought it did surprising justice to Vierne 1, and the audience enjoyed it and clamoured for more, we set about planning for Vierne 2. By this stage, I was sorely frustrated at the way in which its version of a Celeste was raw bread, perhaps even dough, rather than toast, and I was missing a small Open Diap possibly with voicing closer to that of the real organ on the Great. I have rejected Hauptwork as I really hate anything to do with the reliability of a hard-disk computer. My quest for two ranks has led into adding two whole manuals - and in that I hope that others might be intrigued and excited. Like many I have always sneered at dream machines, Mickey Mouse stupidly vast electronics - for instance what, might one ask, is a five manual with not one or two but with the serious pretentions of three Op Diaps doing on such an instrument in the context of http://www.anthonybogdanorgans.co.uk/Wyvern5manual.htm ? How could I possibly conceive of doing something so outrageous without veering down the same path? The answer turned out to be a fortuitous acquisition of equipment. The first of these was [DELETED BY AUTHOR], the value of which is a very good Celeste, which is as close to my Salicional and Voix Celestes on the Hunter as one could find. It's very North German and Baroque in voicing and although really realistic perhaps I'd tire of it were it to be my only access to an organ substitute. Next came a [DELETED BY AUTHOR]. This is a real toy box, with a bright [DELETED BY AUTHOR], a couple of 32fts, some nice upperwork with [DELETED BY AUTHOR]. Even better some [DELETED BY AUTHOR]. Well this meant that the 1812 had to be on the performance list - and Easter Monday will be a celebration of 25 years of organising concerts - so this put a strict time limit on getting the job done. All of these additional boxes come split into two divisions. It was obvoius to put the [DELETED BY AUTHOR] division with the Celeste on the Swell and the division with the Principal either on the Great - but that would duplicate - so an Echo was born, and it was obvious that those [DELETED BY AUTHOR] should go on a Solo. That wasn't the end of the story: wouldn't it be nice to have a portable organ facility to do concerts outside! Accordingly I followed the example of the "Desert Organ" constructed in America for the Burning Man festival and sought out [DELETED BY AUTHOR]. The [DELETED BY AUTHOR] could easily be put on the Echo and the [DELETED BY AUTHOR] added to the Solo. However, after perusing the Swell Great Choir manual discussion and so finding the links to the explanation of the French tradition at St Sulpice http://www.youtube.com/watch?v=kau-hubf2Gc put into practice with http://www.youtube.com/watch?v=nOofV3PCnno (which my wife tells me is manic and demonic ! ) perhaps its a good idea to put the bulk of the reed chorus on the bottom manual, and the [DELETED BY AUTHOR] on the Swell for coupling down to either the Great or Choir in more of the spirit of the French - Grand Choeur, Grand Jeu etc. For this reason, I'm contemplating coupling the mainly flue Echo to the Great and the Solo with reed and upperwork to Choir. What is interesting about the project is 1. Deficiences of the harmonic structure of the toaster's top octave are remediated by the addition of the new units - which provide for brighter voicing in the top octave as well as not losing top frequencies probably caused by the 8bit 15 year old technology of the orginal toaster 2. [DELETED BY AUTHOR] 3. The toaster is voiced on very traditional H&H lines - it's good as far as it goes - but when I hear it at a distance there's a brownness about the sound not common to H&H - these units add the brightness and sparkle which people often complain about missing from H&H 4. The allocation of these disparate parts is providing a flexibility which can be changed at will without a great deal of trouble on an experimental basis. The combination of styles is providing a versatility to do justice to any repertoire, although I can see purists potentially being wholly horrified. The stoplists are below. What does anyone think? Is it a mistake to parallel-think in terms of the French manual layouts? Is it more effective to be able to choose the different voicing of the same tone, for instance of the Tuba, Clarinet, Oboe on the same manuals, or should one reverse them so that one doe not duplicate them on the same manual so that they can contrast? On one unit the Salizional is very useful with the Cello. Needless to say, I'm still tied up in soldering cables to all the right places, and hope to finish in time! However, before I put the manuals in permanently and cut the holes for the new coupler drawstops, I'd rather have any rethinks at this stage. I think it's on the right track . . . but I'll await judgment from members before coming to a conclusion on that one! As a performance instrument, it's certainly better than the toaster that appeared in Chiddingly church recently for an international recitalist . . . Time will tell whether it's fit for any successors to Virgil Fox! It's intended to provide serious fun for any who want to perform and audiences who want to listen. . . and as a pipe-organ man at heart, one of the purposes of mongrellifying a toaster in this way is to show it no reverence as an art-form but to demonstrate its usefulness as a functional object in bringing the music to the people in a place which could not accommodate the necessary pipe instrument. Indeed, another reason for being obscene in the enlargement of this organ is also to differentiate such an instrument, brought together for a purpose rather than to promote a lesser instrument as a seemingly adequate mere substitute. In due course, I'm hoping to be able to control the pipe organ from the two new manuals at the toaster console - but that's a wholly different ball-game with which I can't cope at present, and I have yet to blow/suck the fumigation dust from the pipes from woodworm treatment. (By the way, I was surprised that no-one followed up with any better ways of preventing woodworm ) Best wishes Spot SPECIFICATION OF CONCERT INSTRUMENT: GREAT / Grande Orgue: Contra Salicional 16 Open Diap 8 Stopped Diap 8 Wald Flute 4 Principal 4 Twelfth 2 2/3 Fifteenth 2 Fourniture IV Posaune 8 - Grande Orgue extension: Open Diapason 8 Flauto Mirabilis 8 (tuned flat for use with Vox Humana) Concert Flute 4 Quint Flute 2 2/3 Piccolo 2 Vox Humana 8 SWELL Geigen Diap 8 Echo Gamba 8 Lieblich Gedekt 8 Holzflote 8' Gamba 8' Voix Celeste 8 Geigen Diap 8 Echo Gamba 8 Lieblich Gedekt 8 Stopped Flute 4 Principal 4 Fifteenth 2 Mixture V Oboe 8 Clarion 4 Trumpet 8 Contra Fagotto 16 POSITIF - permanently on Swell Holzflote 8' Gamba 8' Vox Celeste 8' Flute 4' Waldflote 2' Quinte 1 1/3' Sesqualter II Vox Humana 8' For use as Recit Expressif Bourdon 16 Principal 8 Flûte à cheminée 8 Unda Maris 8 Octave 4 Spitzflöte 4 Nasard 2 2/3 Superoctave 2 CHOIR Gedekt 8 Dulciana 8 Hohl Flute 8 Bourdon 8 Flûte harmonique 8 (tuned with Bourdon as Unda Maris for use for Vox Humana) Chimney Flute 4 Flûte octaviante 4 Nazard 2 2/3 Block Flute 2 Larigot 1 1/3 Larigot 1 1/3' Tierce 1 3/5 Clarinet 8 Corno di bassetto 8 Tuba 8 For use as Grand Choeur: Cello 8 Cello Celeste 8 Salizional 8 Quintadena 8 Gedackt 8 Gamba 8 Nachthorn 4 Cymbale III Cornet III Cornet des Bombardes IV Cornopean 16 Clarinet 8 Oboe 8 Cor Anglais 8 Tuba Mirabilis 8 Clarion 4 SOLO Contregambe 16 Diapason 8 Quintadena 8 Terz 1 3/5 Septime 1 1/7 Scharff III Bombarde 16 Trompette 8 Tuba Mirabilis 8 Tubular Bells (2 octaves) ECHO Principal 8' Rohrflote 8' Octave 4' Quinte2 2/3' Octave 2' Mixture IV Trumpet 8' Coupler to Positif PEDAL Soubasse 32 Contrebombarde 32 Contre Violone 32 Contre Basson 32 Ophicleide 16 Contre Gambe 16 Violone 16 Bombarde 16 Bourdon 16 Violone 16 Open Wood 16 Subbass 16' Gedekt 8' Octave 4' Bass Flute 8 Octave 8 Choral Bass 4 Octave 4' Trumpet 8 Bombarde 16' Trumpet 8' Trombone 16 Couplers - Usual 3 manual couplers plus Echo-Great and Solo-Choir Link to comment Share on other sites More sharing options...
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