Pierre Lauwers Posted January 4, 2006 Author Share Posted January 4, 2006 So far, so good. Up to now we have this from MM: "Of one thing I am certain, and that is the fact that in less favourable acoustics (which may well include many modern concert halls), there is a lot of mileage to be found in good, solid English Diapasons and Reeds rather than the thinner tones of other Euro-builders." Here we may have a selling point: the ability to cope with bad acoustics. There are certainly others. The "Reform" did advocate a certain kind of classic organ -not the classic organ which is incredibly diverse-, the same worldwide. It had to be "north german" but with only some of its voices that were permitted: Principals Stopped flutes Open flutes but from 4' Thin Trumpets The Krommhorn Two or three Regals. Das war's! This ideology has been so strong for so long a time that 90% of the organ's stops are nearly completely ignored today, especially in.....Their own country: -Very few germans have heard a Doppelflöte -Who among you have heard a Zauberflöte or a Dulciana Mixture? (Of course all these things are "bad", "insular", etc). So there is a strong tendancy, everywhere, to ask the builders for this very standardized-global style. But if the builders follow that trend they will lose any competitivity abroad because local builders will do the same for less money (not as long a travel etc). But the british builders are not standardized. What do they offer we did not cite already? Pierre Link to comment Share on other sites More sharing options...
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