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Armchair Designers - A 'real Life' Challenge

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Guest Cynic

To get us back to the original topic, I have a further problem/question.

 

With plenty of stop-tabs to fill on the main console and wanting to have the most resourceful and interesting job to play as I (hopefully) process in a stately way towards my dotage, I had planned (as mentioned above) to include a Septieme in my Swell organ.

 

All large and fine, however....

the chest is now in and wired up, a small rank of pipes is in, capable of either a boldish string or a gentle flute sound and all points between. I have tuned and voiced sample notes and have been surprised to find that at no volume nor tone does this stop seem to have any appreciable use. My Swell 16 8 8 8 4 reeds are already bright and don't need extra clang and melodically IMHO it's useless.

 

As an experiment, I transposed an octave of these pipes by a tone and suddenly I had something I know I would use, viz an Octavin or Sifflote.

The chest will not take a wide Tierce, but in any case I have one already planned for the division above. I have no need of a narrow Tierce, there is one on the Choir as part of a traditional Sesquialtera and there is an independent Tierce on the (main) Great. There is a mounted Cornet around the place too - though exactly which keyboard it should play from is still undecided. I already have a Larigot (unenclosed Choir) and a Nineteenth (enclosed Choir).

 

What would you do folks?

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To get us back to the original topic, I have a further problem/question.

 

With plenty of stop-tabs to fill on the main console and wanting to have the most resourceful and interesting job to play as I (hopefully) process in a stately way towards my dotage, I had planned (as mentioned above) to include a Septieme in my Swell organ.

 

All large and fine, however....

the chest is now in and wired up, a small rank of pipes is in, capable of either a boldish string or a gentle flute sound and all points between. I have tuned and voiced sample notes and have been surprised to find that at no volume nor tone does this stop seem to have any appreciable use. My Swell 16 8 8 8 4 reeds are already bright and don't need extra clang and melodically IMHO it's useless.

 

As an experiment, I transposed an octave of these pipes by a tone and suddenly I had something I know I would use, viz an Octavin or Sifflote.

The chest will not take a wide Tierce, but in any case I have one already planned for the division above. I have no need of a narrow Tierce, there is one on the Choir as part of a traditional Sesquialtera and there is an independent Tierce on the (main) Great. There is a mounted Cornet around the place too - though exactly which keyboard it should play from is still undecided. I already have a Larigot (unenclosed Choir) and a Nineteenth (enclosed Choir).

 

What would you do folks?

 

Hi

 

Probably the Octavin - and the Cornet on the Great would seem to be the logical place for the early English repertoire - although on a lrage organ, Solo might be equally appropriate.

 

Every Blessing

 

Tony

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... All large and fine, however....

the chest is now in and wired up, a small rank of pipes is in, capable of either a boldish string or a gentle flute sound and all points between. I have tuned and voiced sample notes and have been surprised to find that at no volume nor tone does this stop seem to have any appreciable use. My Swell 16 8 8 8 4 reeds are already bright and don't need extra clang and melodically IMHO it's useless.

 

As an experiment, I transposed an octave of these pipes by a tone and suddenly I had something I know I would use, viz an Octavin or Sifflote. ...

 

 

What would you do folks?

 

... In which case, you could add a 1ft. Octavin.

 

 

 

That'd be your choice for the extra stop?

More useful than a Tierce?

 

I knew that I had a good suggestion here....

 

:lol:

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Guest Cynic

I knew that I had a good suggestion here....

 

:lol:

 

Yes, before you started on llamas, you were full of good advice.

Now I'm not entirely convinced that the rest of us should associate with you at all!

 

I am pretty disappointed, however, that my bright idea of adding something with only occasional use would still make sense. After all, I've got a specification of 131 speaking stops to fill; I wanted a Septieme somewhere on the job. I thought the Swell was a good place to put it - it could be added to the reeds and be coupled elsewhere on the instrument when required. The volume could be adjusted too, you see. Clever? Why, when I try to sort it out does it turn out to have no use? I am peeved over this one. I suppose I could turn it into a None. Another possibility would be a Mollterz - speaking D sharp when you play C. I've never heard one, but they seem popular on modernist German specs.

 

I only know two Septiemes, there's one at The London HQ of 'We-love-U-God' [Holy Trinity, Brompton] on the R&D that was originally built for St.Mark's North Audley Street. The Choir on that organ has a complete set of mutations on something like 6" wind. Effective, I thought*. The other is at St.Mary's Bury St.Edmunds, that one is useless. There must be a Septieme at Liverpool, but I've never wasted time trying it out since on the rare occasions I have sat down at that beast I have had a limited time and a definite job to do.

 

Oh I believe in the occasional 1' stop. I recently added one (amongst a number of other extra stops) to a two rank extension organ, and (for occasional use only) it's great fun - piquant, sparkling, the whole 'fun' bit and no extra pipes needed in that case, just a modest amount of extra wiring.

 

*It occurs to me that my mistake is not having a Tierce and Septieme on the same division - trying to sit this 1.1/7' rank on top of an incomplete harmonic series is what is making it stick out. Too late, the box is fairly stuffed with pipework. Not very surprising..... I have added a complete six-rank soundboard where there was only a couple of extension chests previously, carrying an extended Roughwork and Creeper Trumpet unit. I also have three unit chests taking 'Septieme', a smooth and luscious Double Horn 16' and the 8' open basses. I'd allowed room for the extra stops, but even a tiny thing extra now would make it difficult to tune the rest. The Organist in me sometimes has to give way to the DIY organ-builder with a modicum of practical sense.

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Yes, before you started on llamas, you were full of good advice.

Now I'm not entirely convinced that the rest of us should associate with you at all!

 

I am pretty disappointed, however, that my bright idea of adding something with only occasional use would still make sense. After all, I've got a specification of 131 speaking stops to fill; I wanted a Septieme somewhere on the job. I thought the Swell was a good place to put it - it could be added to the reeds and be coupled elsewhere on the instrument when required. The volume could be adjusted too, you see. Clever? Why, when I try to sort it out does it turn out to have no use? I am peeved over this one. I suppose I could turn it into a None. Another possibility would be a Mollterz - speaking D sharp when you play C. I've never heard one, but they seem popular on modernist German specs.

 

I only know two Septiemes, there's one at The London HQ of 'We-love-U-God' [Holy Trinity, Brompton] on the R&D that was originally built for St.Mark's North Audley Street. The Choir on that organ has a complete set of mutations on something like 6" wind. Effective, I thought*. The other is at St.Mary's Bury St.Edmunds, that one is useless. There must be a Septieme at Liverpool, but I've never wasted time trying it out since on the rare occasions I have sat down at that beast I have had a limited time and a definite job to do.

Well there's a rather spicy one at Gloucester, of course. Jolly useful it is too. But I know the G-word raises hackles....back to m'Shiraz. Actually, I don't think there is one at Liverpool (on its own at least, and if there ever was one in a Mixture you can bet it's been 'suppressed' by now).

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Oh I believe in the occasional 1' stop. I recently added one (amongst a number of other extra stops) to a two rank extension organ, and (for occasional use only) it's great fun - piquant, sparkling, the whole 'fun' bit and no extra pipes needed in that case, just a modest amount of extra wiring.

But doesn't the dodgy winding always let these machines down, especially at that pitch? Mind you, even respectable 'straight' old dames like Salisbury suffer in that respect (where the Choir [organ] is truly dodgy).

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But doesn't the dodgy winding always let these machines down, especially at that pitch? Mind you, even respectable 'straight' old dames like Salisbury suffer in that respect (where the Choir [organ] is truly dodgy).

 

Oh, I don't know. A 1ft doesn't need much wind.

 

And, clamped to a traditional slider soundboard, they can be very effective....with rock-steady wind, should you want it. :angry:

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