David Coram Posted October 13, 2010 Share Posted October 13, 2010 This appears (from reading) to be fairly commonplace on the continent. I recently played a small organ by Merklin which immediately went into my top 5. Its spec was as follows: GO Bourdon 16 (+Ped), Montre 8, Bourdon 8, Flute harmonique 8, Salicional 8, Voix celeste 8, Flute 4, Fourniture III, Basson et hautbois 8, Trompette 8 Recit Bourdon 8 (GO), Flute harmonique 8 (GO), Salicional 8 (GO), Voix celeste 8 (GO), Flute 4 (GO), Quinte 3, Doublette 2, Basson et hautbois 8 (GO) Ped Bourdon 16 (GO), Violoncello 8 (GO) No manual coupling necessary, all under expression. This struck me as an excellent way of achieving so many objectives - small balancing trio registrations, accompanimental colour and beautiful solo voices in spades, seamless and appropriate crescendos (by which I mean that you can change manuals gradually, rather than all parts at once) without any need for pistons or ventils, two balancing choruses with contrasting top-ends, exceedingly compact footprint, and (in this particular instance) one of the most beautifully regulated tracker actions I have encountered. It was last rebuilt in 1982, and (save for one note overblowing when played on both keyboards) there were no evident mechanical problems. The tuning book suggested there had been none to speak of - we were only on about page 4 or 5 of a small notebook since its restoration nearly 30 years ago. I've seen this done a little in the UK, such as this Drake organ, but there the shared stops are on an 'either or' basis and cannot be used in two places at once, thereby invalidating one of the strongest benefits. So - why not?? Link to comment Share on other sites More sharing options...
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