PipeChat Digest #455 - Friday, July 17, 1998 Re: PipeChat Digest #454 - 07/16/98 by "email@example.com" <firstname.lastname@example.org> Lemare's memo to Austin about Op. 500 (Cont) by "W. Scarboro" <email@example.com> where is everyone? by <ROBIN88866@aol.com> Re: Lemare's memo to Austin about Op. 500 by "Jason D. Comet" <firstname.lastname@example.org> Re: theatre vs. classical by "Jason D. Comet" <email@example.com> Theatre Organ Spec. by "Jason D. Comet" <firstname.lastname@example.org> Re: Theatre Organ Spec. by <Victorgan@aol.com> Re: where is everyone? by "bruce cornely" <email@example.com> Re: Theatre Organ Spec. by <ComposerTX@aol.com> Re: where is everyone? by "Mac Hayes" <firstname.lastname@example.org>
(back) Subject: Re: PipeChat Digest #454 - 07/16/98 From: "email@example.com" <firstname.lastname@example.org> Date: Thu, 16 Jul 98 18:41:20 -0000 Greetings: Jack Cormack's comment in which he blames lack of interest in quality music on public school music education is of hogwash! I have been an elementary music specialist for over 30 years. Our school system has a well written curriculium which is frequently updated and monitored to maintain local and state benchmarks. We do the best we can with the time allotted to music in the classroom. I see my students (grades 1 - 6) for two 30 minute sessions a week. (rather limiting) When there is little or no interest in music by the parents, the same attitude will be reflected in the children. This is especially true in today's culture when such a large percentage of the children are latchkey children, reared in a one parent home, often with inadquate food, love and attention from parents(s). Mr. Cormack should volunteer as a teacher's aide in a general music classroom in a public school in Maryland. He might then realize the problem is much deeper than just public school music education program. Thomas Gregory
(back) Subject: Lemare's memo to Austin about Op. 500 (Cont) From: "W. Scarboro" <email@example.com> Date: Wed, 15 Jul 1998 14:42:33 -0400 Somehow the last part of Lemare's memo got cut out so again I present the memo starting at # 30. By-the-way Austin responce to this memo was that they did everything he requested. Because after all he had played the organ enough to know its faults. More later Will Scarboro ---------- Choir Organ: 30. Contra Gamba 16 ft. to be increased in tone in lower octave. 31. 4 ft. Harmonic Flute to be revoiced more brilliant and of more = orchestral character. 32. The Flauto Dolce 8 ft. and 4 ft. Harmonic Flute to change places on = the chest. 33. The Quintadena 8 ft. to be changed to "strings, two ranks" , one = rank running to 8 ft C, the other to 4 ft. C. 34. The Concert Flute 8 ft. to be revoiced and considerably brightened = and loudened in tone. 35. A new Celeste of the Austin Organ Company type with dampers to = replace present Celesta and to be placed in a good sounding and = prominent position outside the swell boxes. Swell Organ: 36. First Open Diapason to be replaced by a new scale taper stop from 4 = ft. C up and to be made much louder in power. 37. Second Open Diapason to be made louder. 38. Clarabella louder. 39. Spitz Flute louder. 40. Mixture much louder. 41. Principal louder. 42. Wald Flute much louder. 43. Harmonic Trumpet, Cornopean, Contra Posaune, and Clarion to be = revoiced and regulated smoother in quality of tone without loss in = volume. 44. Present Viole d' Orchestre and Viole Celeste to be replaced by new = stops voiced with less body of tone and of more orchestral character. 45. Swell Chimes to be improved by re-regulation of hammers. 46. All undulating stops to be altered as necessary so as to be tuned on = the flat side instead of the sharp side. Console: 47. The eight pedals now duplicating General Pistons are to be changed = to duplicate Swell pistons. 48. The Crescendo Pedal is to be connected to operate the Echo Swell, = but the action is to be left so that it can be readily re-connected to = Crescendo, and the Echo Swell action re-connected to Solo Pedal. 49. The general Zero button is to be re-arranged to throw in Sub and = Super couplers only, not to affect any speaking stops or unison or pedal = couplers. 50. Adjustable piston actions to be fitted with new parts, so as to be = more reliable in operation. 51. Double Swell engines to be placed on each Swell so as to give = double the number of stations and twice the power in operating the = blinds.=20 Tremulants: 52. The entire Echo organ is to be affected by valve tremulant. 53. The front section of the Choir organ, the rear section of the Swell = organ, and the front section of the Solo organ are to be paneled off and = arranged to be affected by valve tremulants. 54. The stop knobs of the console are to be re-arranged as necessary to = cover these changes and the wiring and connections to the organ in = cables etc. to be changed also as necessary to suit the new conditions. 55. The whole key and pedal action to be re-regulated and made more = prompt.
(back) Subject: where is everyone? From: <ROBIN88866@aol.com> Date: Thu, 16 Jul 1998 21:12:02 EDT Is the list down or is it just that no one has anything to say? :) THAT is hard to believe! :) LOL Robin
(back) Subject: Re: Lemare's memo to Austin about Op. 500 From: firstname.lastname@example.org (Jason D. Comet) Date: Thu, 16 Jul 1998 20:51:23 -0400 >Edwin H. Lemare sent to Austin about the changes that he wanted done >to the Panama-Pacific Expo organ before it was to be moved into the=20 >San Francisco Civic Auditorium. <message deleted> Did he have the entire insturment revoiced??!! Zzshezzch! I do know of EdwinH. Lemair's association with Austin. It was in the November 1887 issue of The American Organist. Any body want a copy??!!! Jason Comet email@example.com |\ | \ O _____________________________________________________________________ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com Or call Juno at (800) 654-JUNO [654-5866]
(back) Subject: Re: theatre vs. classical From: firstname.lastname@example.org (Jason D. Comet) Date: Thu, 16 Jul 1998 21:05:01 -0400 >I've recently been bitten/smitten by the theatre bug and may consider >getting into an instrument sometime later in the year. I'm amazed at >the >specs I see on instruments on the internet and the small number of >ranks vs. >stops as opposed to what in my mind is a classical or "straight" >instrument. ** Yes, the instruments are different in those areas. Wind Pressures are higher, Tremulants are different, (u s u a l l y the "classical" organs have a slower vibrato rate, and the TO are faster.) ** Usually the TO's are voiced with more Orchestral effects, and the 'classical' is voiced along more non-orchestral lines. Although it is not that uncommon to see Orcherstral Oboe, or Orchestral Flute or Orchestral Trumpet on a 'classical' pipe organ. the place where this more often than not are the "Modern" electronic organs. (Flam proof clothing on) ** >I seem to see more data now on direct electric action whereas the last >time >I was inside a chest, read some years ago, d.e. was a Wicks phenomenon >only >and then looked at askance. Is there a place in theatre organs for >d.e. >action or does the higher w.p. preclude its use? ** Direct Electric I see is used on the more mondern or recently built TO's and Electo-pneumatic is used in 'Classical', although the DE action is used more and more in newer 'classical' instruments. I've seen Peterson produce DE action. That's where I'm sure Dobson and Reuter, etc, etc, etc, etc, with the exception of Wicks (which makes there own) gets their DE actions from. (I could be wrong) Jason Comet email@example.com |\ | \ O _____________________________________________________________________ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com Or call Juno at (800) 654-JUNO [654-5866]
(back) Subject: Theatre Organ Spec. From: firstname.lastname@example.org (Jason D. Comet) Date: Thu, 16 Jul 1998 21:43:16 -0400 I'm deciding to install a 'small' Theatre Organ in the Great Hall of my church. The congregation would like to have an instrument installed in the ceiling (which has a very steep slope) over the kitchen. It would speak into the room with minimal impediment. Here is the stop list. I have the stop list to WurliTzer's Opus 2022. Originally built in 1929 for Warner Brothers Vitaphone Corp., Hollywood California. Now istalled in the Hollywood residence of Joseph Kearns. The instrument has 18 ranks. and a toy-counter. PEDAL: 16' Ophecleide Bass (diaphone) Tibia Clausa Double String Bass String Bass Celeste Bourdon 8' English Post Horn Trumpet (Brass) Tuba Horn Open Diapason Tibia Clausa Clarinet String (Two Ranks) Cello (Two ranks) Flute Bass Drum Kettle Drum Crash Cymbal Cymbal Accomp to Ped Great to Ped Solo to Pedal (Traps on second touch with toggle switch) GREAT: 16' English Horn (TC) Trumpet (TC) Ophecleide Bass Tibia Clausa Double String String Celeste Bourdon Vox Humana (TC) Vox Humana (TC) 8' English Horn Trumpet Tuba Horn Open Diapason Horn Diapason Tibia Clausa Clarinet Orchestral Oboe Krumet String String Celeste Viol D'Orchestra Viol Celeste Oboe Horn Quintadena Concert Flute Vox Humana (Solo) Vox Humana (Main) 4' Clarion (Trumpet) Clarion (Tuba) Octave (Horn Diap) Piccolo (Tibia) Viol D' Orchestra Viol Celeste Flute Vox Humana Vox Humana 2 2/3' Tibia Twelfth Twelfth 2' Piccolo (Tibia) Fifteenth Piccolo 1 3/5' Tierce Marimba (Re-it) Harp Xylophone Glockenspeil Bells (Re-it) Cathedral Chimes Chrysoglott Great Sub Octave Unison Off Great Octave Sub Solo to Great Solo to Great ACCOMPANIMENT: 16' Contra Viol (TC) Vox Humana (TC) Vox Humana (TC) 8' English Horn Trumpet Tuba Horn Open Diapason Tibia Clausa Clarinet Orchestral Oboe String String Celeste Viol D'Orchestral Viol Celeste Oboe Horn Quintadena Concert Flute Vox Humana Vox Humana 4' Octave Piccolo Viol Viol Celeste Flute Vox Humana Vox Humana 2' Piccolo Marimba (Re-it) Harp Chrysoglott Vibraphone Chrysoglott Damper Snare Drum Tamborine Castanets Wood Block Tom Tom Sleigh Bells Sub Octave Coupler Unison Off Octave Solo to Accomp SOLO: 16' English Horn (TC) Trumpet (TC) Tibia Clausa Double String String Celeste 8' English Horn Trumpet Tuba Horn Open Diapason Tibia Clausa Clarinet Orchestral Oboe Krumet Solo String String Celeste Viol D'Orchestra Oboe Horn 4' Clarion Piccolo 2 2/3' Tibia Twelfth 2' Piccolo Marimba (Re-it) Harp Xylophone Glockenspeil Bells (Re-it) Cathedral Chimes Chrysoglott ACCOMPANIMENT 2ND TOUCH: 8' English Horn Trumpet Tuba Horn Tibia Clausa All Strings Xylophone Glockenspeil Marimbal Chimes Triangle Solo to Accomp GREAT 2ND TOUCH: 16' Ophecleide Tibia Clausa 8' English Horn Trumpet Tuba Horn Tibia Strings Solo to Great Tremulants: Main Solo Tibia Clausa Tuba 2 Vox Humanas (Main and Solo) Nine toe pistons: Chinese Gong Cymbal Crash Triangle Fire Gong Bird Whistle Boat Whistle Horses' Hooves Klaxon Surf Effect Two Swell pedals (Main and Solo) and Crescendo Pedal WP's: Main 16" Main Vox 7.5" Solo 15" Solo Vox 5" Could anybody tell me where they get 18 ranks from? I count over 25! Could anybody tell me what (Re-it) means? Could anybody tell me what I can do to this so I'm not coping the Opus 2022 exactly??!! Jason Comet email@example.com |\ | \ O (Sorry for the lenghty message) _____________________________________________________________________ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com Or call Juno at (800) 654-JUNO [654-5866]
(back) Subject: Re: Theatre Organ Spec. From: <Victorgan@aol.com> Date: Thu, 16 Jul 1998 22:06:09 EDT In a message dated 98-07-16 21:45:40 EDT, you write: > 8' > English Horn > Trumpet > Tuba Horn > Open Diapason > Horn Diapason > Tibia Clausa > Clarinet > Orchestral Oboe > Krumet > String > String Celeste > Viol D'Orchestra > Viol Celeste > Oboe Horn > Quintadena > Concert Flute > Vox Humana (Solo) > Vox Humana (Main) Jason: The above list is your 18 ranks. Re-it mean Reiterate, or to repeatly strike the note; ie: the difference between the Orchestra Bells and the Glock. Could anybody tell me what I can do to this so I'm not coping the Opus 2022 exactly??!! This is a HUGH instrument. Do you have access to all of the components, a large enough blower, and most importantly, enough chamber space available? An installation abouve a kitchen next to the roof is going to be very warm and difficult to keep in tune. Best of Luck!!! Vic
(back) Subject: Re: where is everyone? From: firstname.lastname@example.org (bruce cornely) Date: Thu, 16 Jul 1998 22:59:45 -0400 (EDT) I think it is contempletive; your message came through so something must be doing right! :~+~:~+~:~+~:~+~:~+~:~+~:~+~:~+~:~+~: o o o _____bruce cornely_____ o o o o o o email@example.com o o o o o o ___ O a H g S o ___ o o o He wa'n't no common dog, he wa'n't no mongrel; he was a composite. A composite dog is a dog that's made up of all the valuable qualities that's in the dog breed-- kind of a syndicate; and a mongrel's made up of all the riffraff that's left over." --Mark Twain
(back) Subject: Re: Theatre Organ Spec. From: <ComposerTX@aol.com> Date: Thu, 16 Jul 1998 23:39:53 EDT Jason, count the 8' stops on the Accomp. Those are the 18 ranks. everything else is derived from them, even though the stop tabs may say something else, like Piccolo instead of Tibia or Flute. Regards, Danny Ray Let me know if you want me to work on the spec.
(back) Subject: Re: where is everyone? From: Mac Hayes <firstname.lastname@example.org> Date: Thu, 16 Jul 1998 22:42:20 -0700 ROBIN88866@aol.com wrote: > > Is the list down or is it ... No, everybody is over at PIPORG-L at the moment, talking about how to make pipe organs sound like Hammonds; or at EORG-L badmouthing the PIPORG-L folk for hating non-pipe organs. -- Mac Hayes email@example.com Cogito ergo aspera