DIYAPASON-L Digest #304 - Wednesday, April 18, 2001
 
Tierce chest layout
  by "Pieter Smit" <pieter@cadence-engineering.co.za>
Supporting Horizontally Mounted full length reeds
  by "Dave McClellan" <drmc@speedfactory.net>
Re: [Residence Organs]  Tierce chest layout
  by "David Scribner" <david@blackiris.com>
Re: Supporting Horizontally Mounted full length reeds
  by "Larry Chace" <rlc1@etnainstruments.com>
 

(back) Subject: Tierce chest layout From: "Pieter Smit" <pieter@cadence-engineering.co.za> Date: Wed, 18 Apr 2001 09:40:52 +0200   I have seen mentioning of the start of the tierce layout many times, but I have never seen a complete layout for all the octaves. Can anybody help? (Normally the series is mentioned as C-E-G#------ and the other side as C#-----etc, but when is D and D# started?)   Pieter Smit pieter@cadence-engineering.co.za    
(back) Subject: Supporting Horizontally Mounted full length reeds From: "Dave McClellan" <drmc@speedfactory.net> Date: Wed, 18 Apr 2001 07:01:03 -0400   I need to mount the bottom 6 notes of a full length 8' Trumpet (3" scale) horizontally due to lack of headroom. The question is how to properly support the pipework. The basses resonators in question are zinc on the bottom and spotted metal on top, with scroll tuners.   My thoughts are to support the boots in two places and support the resonators near the zinc/spotted metal junction on the zinc side = (resonator only supported at one point). I am planning on fabricating wooden clamps and lining them with felt.   The pipework will actually be lying on a 2' x 8' horizontal piece of 1/2" plywood with 2"x2" stiffeners on the back. The entire assembly will be suspended near the ceiling in my "erecting room" using a series of awning pulleys and braided steel cable (I supported my HO guage model railroad = the same way for years - a previous hobby). I am planning on suspending the windchest in a similar but separate way and running 1.5" flexible tubing = to the pipework, secured to the boots on one end and to the flanges installed on the chests using small band clamps.   The windchest I plan to use was previously used for a Pedal Bourdon = offset, and uses Reisner and Klann DVAs.   Any comments? Suggested changes? (mitering the reeds is NOT an option on this residence project!)   Dave      
(back) Subject: Re: [Residence Organs] Tierce chest layout From: "David Scribner" <david@blackiris.com> Date: Wed, 18 Apr 2001 06:08:04 -0500   >I have seen mentioning of the start of the tierce layout many times, but = I >have never seen a complete layout for all the octaves. Can anybody = help? >(Normally the series is mentioned as C-E-G#------ and the other side as >C#-----etc, but when is D and D# started?)     The D "flat" follows the completed C "flat" so you would have the = following:   C1, E1, G#1, C2, E2, ... C5, E5, G#4, C6, D1, F#1, A#1, D2.... F#5, A#5... = etc   The numbers above refer to the octave of the keyboard - it is too early to figure out the actual note numbers! <G>   Basically once the completed C "flat" is finished then the D "flat" is done completely then followed by the C# and D# "flats" although some times the layout is"   C "flat" - D "flat - D# "flat" - C# "flat"   I am sure that I have now made this as clear as mud <G> Well, it is very early and I need to get on the road again this morning to drive to NE Arkansas where we are pulling an old organ from a church where we are constructing a new one.   David  
(back) Subject: Re: Supporting Horizontally Mounted full length reeds From: "Larry Chace" <rlc1@etnainstruments.com> Date: Wed, 18 Apr 2001 11:09:35 -0400   Dave McClellan asked for suggestions about horizontal placement of some 8' =   Trumpet basses of zinc with spotted metal tops. I've been thinking about = a similar configuration, with some differences: 16' basses, but mightily knuckled and mitered, with spotted metal *inserts* (not complete spotted = tops).   Dave mentioned placing the pipes on a platform suspended by cables. Would =   it work to simple lay the pipes on the platform such that the entire = length of the resonator is in contact? Perhaps a layer of felt would help avoid any nasty vibrations. Would this arrangement in any way hamper the resonators ability to resonate? This scheme would help avoid stresses to the zinc/spotted joint, which was possibly not designed to hold the heavy spotted tops in a horizontal position.   It might be possible to build a "step" in the platform such that the boots =   would also be well-supported. This would help avoid stresses to the joint =   where the sockets are soldered into the blocks. (I'm assuming that these =   bass pipes have removable resonators.) You'll want to be able to remove the boot to gain access to the tongue and shallot, and so the flexible = wind conductor between the boot and the chest must be flexible enough or disconnectable enough to allow you to slide the boot past the end of the shallot.   The scrolls will need to be positioned so that they work and are not = shaded by being to near the ceiling. Perhaps they should point "horizontally".   My full-length 16' Posaune was knuckled in the bottom 12 pipes and = knuckled in the bottom 8'; it was in John Austin's residence organ (yes, *that* Austin). The pipes are just barely too tall to stand in my 7' high chamber, and so they will have to be placed horizontally along two walls; amazingly enough, the *only* corner of the chamber in which they could go has a short wall that is *just* long enough to accommodate the mitered portions; the wall then angles off (but that's a different story!).   I'm thinking of using standard shelf brackets to hold the pipes, fitting each bracket with a curved wooden cradle fitted to the pipe at each position. For each pipe, at least one bracket needs to support the miter and two or three need to support the main portion of the resonator. At least one more needs to support the boots, which are from OSI and are = quite heavy. I *might* look at building a chest with built-in "boots", but that =   in this case that could make it very difficult to get access to the shallots and tongues since it will be impossible to slide the pipes "upwards". Dave's idea of using flexible conductors seems interesting in this case.   The following 5 or 6 pipes (in the 8' octave) are another problem, and I can't use Dave's solution because I don't have the headroom for pipes to = be placed just below the ceiling.   (Sorry for the digression -- Dave, goo luck!)   Larry Chace