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Another Challenge For Those With Too Much Time On Their Hands Or Those Who Like To Do This Despite Being Too Busy


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just realised that the cornet could not be carried below tc, so the 2' flageolet would not work.

 

Unless it were just the 2' in the bass and the 1/2 draw altered the treble only - cornet or 2'.

 

AJJ

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I think the sort of half-pull/full pull stops are quite exciting whether or not they actually save space. Anyone have any idea whether this would work?

 

Swell [enclosed]

 

Oboe 8'

Echo cornet III [full pull] Flageolet 2' [half pull]

Principal 4'

Echo Dulciana 8' [tc]

Chimney flute 8'

 

Great

 

Sesquialtera III [full pull] Fifteenth 2' [half pull]

Nason flute 4'

Principal 4'

Stopped diapason 8'

Open diapason 8'

 

Pedal

 

Double diapason 16' (stopped)

Open diapason 8' [by communication from Great]

Principal 4' [ditto]

 

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

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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

Fascinating. But if the mixture is 12-15-17 why not have one stop-knob for the 15th and another drawing the 12th and 17th? Would that take up any more space on the soundboard? That way you've also got a sesquialtera without the 15th if you want it. R.

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Fascinating. But if the mixture is 12-15-17 why not have one stop-knob for the 15th and another drawing the 12th and 17th? Would that take up any more space on the soundboard? That way you've also got a sesquialtera without the 15th if you want it. R.

Until the mixture breaks...

 

Paul

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Until the mixture breaks...

 

Paul

 

Yes OK, point taken, but in this instance the composition indicated by 'Cornetdeschats' is 12.15.17 (presumably at 8' C?) so you wouldn't expect many breaks in it would you? But if it started in the bass as, for example, 17.19.22 you'd expect maybe two breaks and it would then end up as something like 12.15.17. Even then, arguably it's easier to deal with two drawstops rather than one two-stage one (how would you set it on pistons?); you still get a useful separate 2' and there's no reason why you couldn't have a 2 rank tierce mixture to add to complete the chorus, so long as it's voiced as principals for chorus use. R.

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Yes OK, point taken, but in this instance the composition indicated by 'Cornetdeschats' is 12.15.17 (presumably at 8' C?) so you wouldn't expect many breaks in it would you? But if it started in the bass as, for example, 17.19.22 you'd expect maybe two breaks and it would then end up as something like 12.15.17. Even then, arguably it's easier to deal with two drawstops rather than one two-stage one (how would you set it on pistons?); you still get a useful separate 2' and there's no reason why you couldn't have a 2 rank tierce mixture to add to complete the chorus, so long as it's voiced as principals for chorus use. R.

Ron's right - I wouldn't expect breaks in a Cornet - 12.15.17 throughout is normal.

 

Half-draw stops and pistons tend to be mutually exclusive, for obvious reasons - they attract very different clientels.

 

I think half draw stops tend to use one slider with borings that line up at different stages of the slider's movement. I'd imagine having separate sliders would take up more space on the soundboard and complicate the (invariably mechanical) half draw stop mechanism. Keep it simple - the best mechanisms avoid needless complications. But I stand to be corrected by someone who's actually made or maintains a half draw stop...

 

I think a half draw stop would be a very good idea on this practice organ. But I'm not sure of the need to have both a Sesquialtera AND a Cornet on such a small organ...

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Half-draw stops and pistons tend to be mutually exclusive, for obvious reasons - they attract very different clientels.

 

I think half draw stops tend to use one slider with borings that line up at different stages of the slider's movement. I'd imagine having separate sliders would take up more space on the soundboard and complicate the (invariably mechanical) half draw stop mechanism. Keep it simple - the best mechanisms avoid needless complications. But I stand to be corrected by someone who's actually made or maintains a half draw stop...

 

St Martin of Neuchatel have certainly built organs with half-draw stops that operate with pistons (and the half draw can be programmed separately to the full draw). From memory, I think their organ at Girton Coll Cambridge has this feature.

 

I believe Colin is correct about the single slider.

 

JJK

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How about this one? I'm just exploring the idea of either/or and have no idea how practical or useful it would be in this form.

 

Manual I

*Open Diapason 8

*Stopped Diapason 8

*Principal 4

*Open Flute 4

†Nazard 2 ⅔

†Recorder 2

†Tierce 1 ⅗

 

Manual II

*Open Diapason 8

*Stopped Diapason 8

*Principal 4

*Open Flute 4

Oboe 8

 

Pedal

‡Subbass 16

Cello 8

Fagot 16

 

II/I, I/ped, II/ped

 

Tremulant to whole organ

 

* available on either manual but not both except through manual coupler

† split bass/treble at C/C#

‡ possibly some already-patented space-saving monophonic cube-type device

 

I imagine the bass of the Open Diapason would be grooved from the Stopped (with helpers). The Oboe would probably be half-length in the bass and the Fagot half- or quarter-length.

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There are some good points, although as others have observed, the upperwork may be too much, depending on the size of the room.

 

For a smaller practice organ, I suggest this:

 

PEDAL ORGAN

 

Stopped Flute (M) 8

Viola (M) 4

Basset Horn 16 (Swell)

Manual I to Pedal

Manual II to Pedal

 

GREAT ORGAN

 

Rohr Flöte (W) 8

Principal 4

Nason Flute 4

Flageolet (W) 2

Swell to Great

 

SWELL ORGAN

 

Stopped Diapason (W+M) 8

Unda Maris (AA: Flute Céleste: W) 8

Gemshorn (Conical) 4

Basset Horn (M) 16 (1/4 length bass)

 

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There are some good points, although as others have observed, the upperwork may be too much, depending on the size of the room.

 

For a smaller practice organ, I suggest this:

 

PEDAL ORGAN

 

Stopped Flute (M) 8

Viola (M) 4

Basset Horn 16 (Swell)

Manual I to Pedal

Manual II to Pedal

 

GREAT ORGAN

 

Rohr Flöte (W) 8

Principal 4

Nason Flute 4

Flageolet (W) 2

Swell to Great

 

SWELL ORGAN

 

Stopped Diapason (W+M) 8

Unda Maris (AA: Flute Céleste: W) 8

Gemshorn (Conical) 4

Basset Horn (M) 16 (1/4 length bass)

 

 

Nice one - though I would feel lost without a 16 Pedal flue - maybe in the style of Drake - from the manual 8 then quints and things but if pos. all the way - if you see what I mean.

 

AJJ

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