PipeChat Digest #511 - Sunday, September 6, 1998
 
 Bethany Organ
  by "gregory@mke.earthreach.com" <gregory@mke.earthreach.com>
RE: U.M.Bethany proposal
  by "John L. Speller" <jlspeller@stlnet.com>
Re: U.M.Bethany proposal
  by <HMPORG1@aol.com>
U.M.Bethany
  by "Robert Horton" <r-horton@nwu.edu>
Re: PipeChat Digest #510 - 09/06/98
  by "Robert Horton" <r-horton@nwu.edu>
Re: PipeChat Digest #510 - 09/06/98
  by "Robert Horton" <r-horton@nwu.edu>
RE: U.M.Bethany proposal
  by "Dennis Goward" <dgoward@uswest.net>
Re: Uncle Milt's ...
  by "George & Bonny Jenista" <hiplain@flash.net>
Two New Organs in Dayton, Ohio area
  by "robert.cowley" <robert.cowley@mci2000.com>
Re: Uncle Milt's ...
  by "V. David Barton" <vdbarton@erols.com>
Re: U.M.Bethany proposal
  by "Jason D. Comet" <bombarde8@juno.com>
BUMCOSL
  by "Jason D. Comet" <bombarde8@juno.com>
Re: Uncle Milt's ...
  by "Roger Pariseau" <grinder@west.net>
Re: U.M.Bethany proposal
  by <HMPORG1@aol.com>
Re: BUMCOSL
  by <HMPORG1@aol.com>
Re: PipeChat Digest #510 - 09/06/98
  by "bruce cornely" <cremona84000@webtv.net>
Re: BUMCOSL
  by "bruce cornely" <cremona84000@webtv.net>
Re: U.M.Bethany proposal
  by "John L. Speller" <jlspeller@stlnet.com>
Re: U.M.Bethany proposal
  by <Prestant16@aol.com>
 


(back) Subject: Bethany Organ From: "gregory@mke.earthreach.com" <gregory@mke.earthreach.com> Date: Sun, 6 Sep 98 06:43:10 -0000   I must chuckle to myself when I some of these excessive stoplists are printed!   What wishbooks!   Why even think on such grand lines where the church can only support a choir of 4 persons (including organist).   If the present instrument is SO bad, bring in a QUALIFIED technician to give a proposal for rebuilding, restoration or replacement.   Go to The Organ Clearing House. They always have several instruments of highest quality available for a moderate cost.   Above all, look at the needs of the congregation. Do they wish a larger instrument? Is there the ability of this congregation to raise thousands of dollars for a different instrument?   Who is going to play this instrument in years to come?   Sincerely       Thomas Gregory Organist/Choir Director/Handbell Director First Baptist Church (An American Baptist Congregation) Waukesha WI USA     p.s. Our church has an E.M. Skinner/M.P. Moller located through the Organ Clearing House in the mid 1970's. All is working well and will for many more years with proper maintenance. The instrument consists of 5 divisions, 42 ranks (including electronic 32' pedal) in a room which seats 300. With proper scaling, voicing and regulation this instrument is not overpowering.  
(back) Subject: RE: U.M.Bethany proposal From: "John L. Speller" <jlspeller@stlnet.com> Date: Sun, 6 Sep 1998 06:41:27 -0500 (CDT)   At 08:32 PM 9/5/98 -0700, Dennis Goward wrote:   >So, when they finally build the new sanctuary, if ever, that organ will either >be of no use to them, or will require extensive reworking to suit the new room.   Of course it will. Probably it would be better to get rid of it and get an entirely new instrument for the new room. So what is wrong with that? All organs -- whether pipe or electronic -- ought to be carefully customised to the room they are in.   John.    
(back) Subject: Re: U.M.Bethany proposal From: HMPORG1@aol.com Date: Sun, 6 Sep 1998 07:42:14 EDT   What happens when the electronic quits and you can't get parts to fix it because that was built with last years technology? You throw it out and buy a pipe organ!  
(back) Subject: U.M.Bethany From: Robert Horton <r-horton@nwu.edu> Date: Sun, 06 Sep 1998 08:35:43 -0500   At 04:00 AM 9/6/98 -0500, you wrote: >Why consider a tracker? How about a good American builder such as Austin!! >Dave Broome reeds (the best) and, surely, you must have a celeste or two! For the size and apparent price range of the instrument that's under consideration, it doesn't seem like we need to resort to electrification of any kind. These are smallish instruments, and the fact that the original proposal was so big leads me to believe that there's enough funding that unification isn't necessary. As for the reeds, I like Dave Broome as well, however and instrument of this size is really only going to have one--maybe two reeds. The proof of the pudding is going to be in the Principals. Finally, I'm not convinced that a celeste is an absolute necessity in every instrument. If you're desperate for one, just get an organ with mechanical stop action and pull the knob halfway out.     Robert C. Horton Associate Minister of Music, St. Lawrence Catholic Campus Center Rm.970 McCollum Hall, University of Kansas, Lawrence, KS 66045 http://www.geocities.com/Vienna/Strasse/1028/   Q. "How many organists does it take to change a light bulb?" A. "Four...one to change the bulb and three to complain that the switching mechanism isn't sensitive enough."  
(back) Subject: Re: PipeChat Digest #510 - 09/06/98 From: Robert Horton <r-horton@nwu.edu> Date: Sun, 06 Sep 1998 08:44:47 -0500   At 04:00 AM 9/6/98 -0500, you wrote: >I was in a small church the other day. .... >So, when they finally build the new sanctuary, if ever, that organ will either >be of no use to them, or will require extensive reworking to suit the new room. I'm not sure that this is the case. If this church is builing a new sanctuary from scratch, then they should also be thinking about acoustics, building good organ chambers, a place for the choir, and setting aside some of the budget for an instrument to go in there. Once it's finished, the small organ could be used as a chancel organ in contrast to a larger ("grand-orgue") in the back, or it could be moved to the choir room as a practice and teaching instrument. If they're still desperate to get rid of it, tell 'em to send it over here to the St. Lawrence Catholic Center and we'll take it up in a heartbeat. Bottom line: There's always a home for a small, well-built instrument. Would that it were so for a digital...   Robert C. Horton Associate Minister of Music, St. Lawrence Catholic Campus Center Rm.970 McCollum Hall, University of Kansas, Lawrence, KS 66045 http://www.geocities.com/Vienna/Strasse/1028/   Q. "How many organists does it take to change a light bulb?" A. "Four...one to change the bulb and three to complain that the switching mechanism isn't sensitive enough."  
(back) Subject: Re: PipeChat Digest #510 - 09/06/98 From: Robert Horton <r-horton@nwu.edu> Date: Sun, 06 Sep 1998 08:54:25 -0500   At 04:00 AM 9/6/98 -0500, you wrote: >>And this church only seats 200 people? How about the following: >Specification No. 1: >1. Mechanical Action >2. Two Manuals/Pedal >3. Stop list as follows: Yikes! Looking back on yesterday's post, it looks like I got carried away as well. Maybe we're easing our way down from the original proposal. I like this first specification a lot. You were right to say that the greatest challenge to an organ builder is to work with a 10-15 rank ceiling and still create an instrument of beauty.   >Pedal: >16' Subbass >8' Flute >16' Fagot I'd still like to see open stops in the pedals, at least a 16' Principal preferably 16' and 8' If there are nothing but flutes in the pedal then you're constantly having to couple with the manuals. Having a choice between an open 16 and a covered 16 goes a very long way in giving variety to the service, e.g. contrasting the reflective and the rafter-shaking. While we're working with this proposal, what is the composition of the Great Mixture?   Robert C. Horton Associate Minister of Music, St. Lawrence Catholic Campus Center Rm.970 McCollum Hall, University of Kansas, Lawrence, KS 66045 http://www.geocities.com/Vienna/Strasse/1028/   Q. "How many organists does it take to change a light bulb?" A. "Four...one to change the bulb and three to complain that the switching mechanism isn't sensitive enough."  
(back) Subject: RE: U.M.Bethany proposal From: "Dennis Goward" <dgoward@uswest.net> Date: Sun, 6 Sep 1998 06:53:32 -0700   I happen to have an electronic made with last year's technology from 15 years ago. When it breaks (and all I've replaced is a couple transistors and a tuning pot) I go to the local electronics store or even Radio Shack, and pick up a new part, usually for under a dollar.   My electronic will never require releathering, nor does it require tuning 4 times a year or more.   I'm not making any argument that electronic is better than pipe; it's not. But if you're going to claim maintenance and obsolescence as reasons not to buy and electronic, make sure of your facts.   Pipe organs have technology problems, do they? No perflex, I think it was called?   Dennis Goward   > > What happens when the electronic quits and you can't get parts to fix it > because that was built with last years technology? You throw it out > and buy a > pipe organ! >    
(back) Subject: Re: Uncle Milt's ... From: George & Bonny Jenista <hiplain@flash.net> Date: Sun, 06 Sep 1998 12:00:46 -0400   PipeChat wrote: > > Well, we in the Dallas/Fort Worth metroplex wouldn't mind having > >such an establishment here!! {grin} > > Trouble is that there has already been more than one of this type of > establishment in the Dallas area---and because of lack of patronage, > they both failed. Too bad-----   Why?? That surprises me!  
(back) Subject: Two New Organs in Dayton, Ohio area From: "robert.cowley" <robert.cowley@mci2000.com> Date: Sun, 06 Sep 1998 13:55:22 -0400   Allen Organ Company has installed two new Renaissance classical organs in our area. The first is a model #370 which is a 3/63 with additions and a State Trumpet added. This is at the Epiphany Lutheran Church, 6430 Far Hills, Centerville, Ohio. The dedication for this organ is October 11, 1998 at 7:00 pm with Tom Hazleton. The second Allen organ is a model #350 which is a 3/56 with additions and a State Trumpet added. This is at the 1st Presbyterian Church located at 1130 Highview Drive, Fairborn, Ohio. Dedication time for this organ is October 25th, 1998 at 4:00 pm. Again, Mr. Tom Hazleton will be doing this one also. If you have not heard the NEW Allen Renaissance Organs, now is the time, along with a GREAT artist. Mark your calendars. For more information, contact Mr. Thom Carter, Allen Organs, BHA, Dayton, Ohio (937) 461-5520.    
(back) Subject: Re: Uncle Milt's ... From: "V. David Barton" <vdbarton@erols.com> Date: Sun, 6 Sep 1998 14:06:02 -0400   [SNIP]   >> Trouble is that there has already been more than one of this type of >> establishment in the Dallas area---and because of lack of patronage, >> they both failed. Too bad----- > >Why?? That surprises me!     It doesn't particularly surprise me. Organ music (even TO music) is a pretty specialized genre, and not to everybody's taste. And, ultimately, for such a business to succeed, the pizza must be good; man does not live by music alone! ;^)    
(back) Subject: Re: U.M.Bethany proposal From: bombarde8@juno.com (Jason D. Comet) Date: Sun, 6 Sep 1998 14:16:47 -0400   That's what I was thinking. We would have to tear up the altar floor and lay the trackers horizontal. The church was designed with an electrical action in mind. Jason Comet bombarde8@juno.com |\ Worship Chairperson, Organ Curator, | \ organist, choir director, director of music, O and janitor at Bethany U.M. Church, Watertown, NY   On Sat, 5 Sep 1998 21:01:00 EDT HMPORG1@aol.com writes: >Why consider a tracker? How about a good American builder such as >Austin!! >Dave Broome reeds (the best) and, surely, you must have a celeste or >two! > >"Pipe Up and Be Heard!" >PipeChat: A discussion List for pipe/digital organs & related topics >HOMEPAGE : http://www.pipechat.org >List: mailto:pipechat@pipechat.org >Administration: mailto:admin@pipechat.org >Subscribe/Unsubscribe: mailto:requests@pipechat.org > >   _____________________________________________________________________ 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: BUMCOSL From: bombarde8@juno.com (Jason D. Comet) Date: Sun, 6 Sep 1998 16:25:40 -0400   (Bethany United Methodist Church's Organ Stop Lists)   *-*-*-*-*-*#1 spec.*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* G: 16 Gemshorn 8 Principal 8 Spitzflote 8 Gemshorn 4 Octave 4 Gemshorn or Traverseflote 2 2/3 Twelfth (borrowed?) 2 Fifteenth Mixture III 8 Trumpet Chimes   S: 16 Bourdon 8 Bourdon (Ext) 8 Viole 8 Viole Celeste (TC) 4 Prestant 4 Flute Harmonic 2 2/3 Nasard 2 Octavine 1 3/5 Teirce Sesquiltera II 16 Basson 8 Trompette 8 Oboe (Ext) 4 Clarion (borrowed from oboe or trompette?) 8 Vox Humana Tremulant   C: 8 Flauto Dolce 8 Flauto Celeste (TC) 8 Gedeckt 4 Koppelflote 2 Blockflote 1 1/3 Ninteenth Quartane II 8 Cromorne (TC) 8 Trumpet (Gt)   P: 32 Resulant (derived or seperate rks?) 16 Principal or Open Wood 16 Gemshorn (Gt) 16 Bourdon (SW) 8 Octave (Ext if Principal) 8 Gemshorn (Gt) 8 Gedeckt (Sw) 4 Choralbasse (Ext) 4 Flute (Sw) 16 Trombone(Gt) 16 Basson (Sw) 8 Trumpet (Gt) 4 Clarion (Gt) 4 Cromorne (Ch)   *-*-*-*-*-*#2 spec*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* G: 16 Violone (Ped-Sw) 8 Principal 8 Harmonic Flute 8 Violoncello (Sw) 4 Octave 4 Chimney Flute 2 2/3 12th 2 15th Mixture III 8 Hooded Trumpet Chimes   S: 16 Gedeckt (ext chmny.flt?) 8 Violoncello 8 Cello Celeste (TC) 8 Chimney Flute 4 Principal 4 Spire Flute or Chimney Flute ext 2 2/3 Nasard 2 Octavine 1 3/5 Tierce Scharff II Reeds same as before 8 Vox Humana Tremulant   C: 8 Gedeckt 8 Dulciana 8 Celeste 4 Koppelflote 2 blockflote 1 1/3 Larigot Quatane II 8 Cromorne (TC) Tremulant 8 Trumpet (Gt)   P: 32 Resulant 16 Principal 16 Violone (Sw) 16 Bourdon 16 Gedeckt (Sw) 8 Octave(Ext) 8 Violone (Sw) 8 Chimney Flute (Sw) 4 Super Octave (Ext) 4 Flute (Sw) Fourniture II Reeds same as before 16 16 8 4 4   *-*-*-*-*-*#3 Spec*-*-*-*-*-*-*-*-**-*-*-*----* G: 8 Diapason 8 Bourdon 4 Octave 4 Harmonic Flute (2 2/3 Twelfth?????) 2 Octavin Mixture III 8 Trumpet   S: 16 Bourdon 8 Gedeckt (Ext) 8 Salicional 8 Vox Celeste 4 Principal 2 Doublette 1 1/3 Larigot 8 Trompette 8 Fagotto 4 Clarion (Ext trumpet or oboe?) Tremulant   C: (2's or no?) 8 Holz Gedeckt 8 Flute Celeste (TC) 4 Flute Harmonic 2 2/3 Nasard 1 3/5 Tierce 8 English Horn Tremulant Zimbelstern   P: 32 Resulant 16 Open Wood 16 Gedeckt (Sw) 8 Principal (Gt?) 8 Gedeckt (Sw) 4 Choral Bass 4 Flute (Sw) Mixture III (Gt) 16 Trombone (Gt) 16 Fagotto (Sw) 8 Trompette (Sw) 4 Clarion (Sw) 4 Cromorne   *-*-*-*-*-*#4 spec*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-* G: 16 Sub Principal 8 Principal (Ext) 8 Harmonic Flute 8 Chimney Flute 8 Gemshorn 4 Octave 4 Nachthorn 2 2/3 Nasard 2 Super Octave 2 Block Flute 1 3/5 Tierce Mixture 16 Contra Hautbois (Sw) 8 Trumpet Flute Tremulant   S: 16 Bourdon 8 Geigen Principal 8 Viola 8 Viola Celeste 8 Bourdon (Ext) 4 Principal 4 Harmonic Flute 2 2/3 Rohr Nasat 2 Flageolet Mixture 16 Contra Hautbois 8 Trompette 8 Hautbois 8 Vox Humana 4 Clarion Tremulant   C: 8 Salicional 8 Voix Celeste 8 Gedeckt 8 Flauto Dolce 8 Flute Celeste 4 Principal 4 Koppelflote 2 Cotave 1 1/3 Ninteenth Quartane II 8 Cromorne (TC) 4 Rohr Schalmei Tremulant 8 Trumpet (Gt)   P: 32 Resulant 32 Contra Bourdon (elec. or ext Sw) 16 Princpal (Gt) 16 Violone 16 Bourdon (Sw) 8 Principal (ext) 8 Bourdon (Sw0 8 Violone (Exst) 4 Choralbasse (Ext) 4 Flute (Sw) Mixture 32 Contra Pousane (Elec) 16 Pousaune (Gt) 16 Contra Hautbois (Sw) 8 Trumpet 4 Clarion (Gt) 4 Hautbois (Sw)   *-*-*-*-*#5 spec*-*-*-*-*-*-*-*-*-*-*-*-*-*--*-* G: 8 Diapason 8 Melodia 4 Octave 2 2/3 Octave Quint 2 Super Octave Chimes Tremulnat Cymbelstern   S: 16 Spitzflote (Ext) 8 Geigen Principal 8 Bourdon 8 Salicional 8 Voix Celeste 4 Principal 4 Spitz Flute 2 2/3 Nasat 2 Flautino 8 Trumpet 8 Oboe 8 Vox Humana 4 Hautbois Clarion (?) Tremulant Vox Tremulnat C: 8 Gedeckt 8 Dulciana 4 Dulcet (Ext) 4 Gemshorn 2 2/3 Nasat 2 Principal 2 Dulcet Fifteenth (Ext) 1 3/5 Tierce 1 1/3 Quint 8 Clarinet Tremulant Harp   Antiphonal: 8 Rohr Flute 4 Gemshorn 2 Flachflote 8 Singend Regal   P: 16 Subbass 16 Spitzflote (Sw) 16 Leiblich Gedeckt 10 2/3 Quint 8 Principal 8 Bass Flute (Ext) 8 Spitzflote (Sw) 4 Super Octave 4 Spitz Flute (Sw) 16 Trumpet (Sw) 8 Trumpet (Sw) 4 Clarion (Sw)   *-*-*-*-*-*#6 spec*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*- G: 8 Principal 8 Rohr Flute 4 Principal (2 2/3 Twlefth?) 2 Octavin Mixture III 8 Trompette (Sw)   S: 8 Gedeckt 4 Spitz Principal 2 2/3 Nasard 1 3/5 Tierce Plein Jeu II 16 Trompette 8 Trompette (Ext) 8 Oboe Schalmei 4 Schalmei (Ext) Tremulant   C: 8 Gemshorn 8 Gemshorn Celeste (TC) 4 Koppelflote 2 Doublette 1 1/3 Larigot Tremulnat   *-*-*-*-*#7 spec*-*-*-*-*-*-*-*-*-*--*-*-*-*-*-*-* G: 16 Quintade 8 Principal 8 Chimney Flute 4 Octave 4 Spire Flute 2 Fifteenth Mixture III 8 Trumpet Chimes   S: 8 Viole de Gambe 8 Viole Celeste 8 Bourdon 4 Principal 2 Doublette Cymabl III 16 Bassoon(Ext) 8 Hautbois(Ext) 4 Clarion (Ext)   C: 8 Gedeckt 4 Spitz Principal 4 Koppelflote 2 2/3 Nasard 2 Recorder 1 3/5 Tierce 1 1/3 Larigot 8 Krummhorn (TC)   P: 32 Resulant 16 Contra Violone 16 Quintade 16 Open Wood 8 Principal 8 Gedeckt (Sw) 4 Koppelflote (Ch) 4 Choralbass (Ext) Mixture II 16 Trombone (Gt) 16 Bassoon (Sw) 10 2/3 Reed Quint (Sw) 8 Trumpet (Gt) 4 Clarion (Sw) 4 Krummhorn (Ch)   *-*-*-*-*-*#8 spec*-*-*-*-*-*-**-*-*-*-*-*-*-*-*-*-*-*-* G: 16 Bourdon 8 Open Diapason 8 Stopped Diapas 4 Octave 4 Open Flute 2 Fifteenth Mixture III 8 Trumpet   S: 8 Violin Diapason 8 Gedeckt 8 Viole 8 Viole Celeste 4 Principal 4 Spitzflute 2 Flageolet Plein Jeu II 16 Contra Fagotto 8 Corneopean 8 Oboe (Ext) 4 Clarion Tremulant   C: 8 Salicional 8 Flute Celeste (TC) (II) 8 Gedeckt 4 Principal 4 Chimney Flute 2 2/3 Nasard 2 Fifteenth 2 Gemshorn 1 3/5 Tierce Quartane II 8 Corno do Bassetto Tremulant 8 Trumpet (Gt)   P: 16 Open Diapason 16 Dulciana 16 Bourdon 101 2/3 Quinbt 8 Principal (Ext) 8 Stopped Flute (Ext) 4 Fifteenth (Ext) 4 Wald Flute Mixture II 16 Trombone (Gt) 16 Fagotto (Sw) 8 Corneopean (Sw) 4 Clarion (Sw) 4 Corno di Bassetto   *-*-*-*-*-*#9 spec*-*-*-*-*-*-*-**-*-*-*-*-*-*-*-*-*-*-*-*-* THIS ONE WOULD BE FOR A TEACHIGN/PRACTICING INSTURMENT SOMEPLACE ELSE IN THE CHURCH!!!!!!   Great: 8 Principal 8 Gedecikt 4 Octave 4 Gemshorn (Sw) Sesquiltera II 2 Super Octave Mixture III 8 Fagotto (Sw) Tremulant   Swell: 8 Rohr Flute 8 Gemshorn 8 Celeste 4 Principal 4 Rohr Flute 2 Gemshorn 1 Rohr Flute 8 Fagotto Tremulant   Pedal: 16 Subbass 8 Principal 8 Rohrflute(Sw) 4 Octave 16 Fagott (Sw) 8 Fagott(Sw) 4 Fagott(Sw)     Man are my fingers tired. I feel like I just played Widor's 5th Toccatta.   If you want to talk about a certain spec, block and send it with the message. I willnot be able to remember which one you are talking about.   Well, until next time America. Jason Comet bombarde8@juno.com |\ Worship Chairperson, Organ Curator, | \ organist, choir director, director of music, O and janitor at Bethany U.M. Church, Watertown, NY   _____________________________________________________________________ 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: Uncle Milt's ... From: Roger Pariseau <grinder@west.net> Date: Sun, 06 Sep 1998 13:30:24 -0700   V. David Barton wrote:   > It doesn't particularly surprise me. Organ music (even TO music) is a > pretty specialized genre, and not to everybody's taste. And, ultimately, > for such a business to succeed, the pizza must be good; man does not live by > music alone! ;^)   Hear! Hear! The Paramount Music Theatre in Indianapolis would have gotten a lot more of my money (and still probably be open) if the food hadn't been so sucky and the sets longer and more frequent. No amount of constructive cricism from their patrons and from the press critics seemed to dent the owners' attitude.   It was a real study in why friends shouldn't partner!   -- Roger  
(back) Subject: Re: U.M.Bethany proposal From: HMPORG1@aol.com Date: Sun, 6 Sep 1998 16:41:16 EDT   Let's hear it for electropneumatic action. After all, we're almost in the 21st century and electropneumatic action does provide added flexibility! HMP  
(back) Subject: Re: BUMCOSL From: HMPORG1@aol.com Date: Sun, 6 Sep 1998 16:47:52 EDT   Too many borrows in the PEDAL. An open wood 16' is wonderful but there should be a bourdon 16' as well. Also how about an independent 8' octave extended to 4'. Provides some independent Pedal to support a great deal of manual stuff.  
(back) Subject: Re: PipeChat Digest #510 - 09/06/98 From: cremona84000@webtv.net (bruce cornely) Date: Sun, 6 Sep 1998 17:22:22 -0400 (EDT)     >building a new sanctuary from scratch.... > they should also be thinking about acoustics, > building good organ chambers, a place for the > choir, and setting aside some of the budget > for an instrument to go in there.   Oooooooorrrrrgaaannnn chaaaaammberrrrs?? Oh Rob Rob Rob Rob Rob Rob Rob Roooooob!   ........................bruce cornely........................ o o o o ______________ o o o o o h o o ______________ o o g o o o s o ______________ o a o o   ............. cremona84000@webtv.net ............   Dogs love company. They place it first in their short list of needs. --- J. R. Ackerly    
(back) Subject: Re: BUMCOSL From: cremona84000@webtv.net (bruce cornely) Date: Sun, 6 Sep 1998 18:29:35 -0400 (EDT)   My primary comment, and pertaining to ALL of the proposed spec's is that it must be remembered the the Pedal is an "organ" in its own right and requires pipes of its own to function properly. At least have independent 16 8 and 4 flues. It is comical to see so many stops extended down to the pedal; because of voicing restrictions they will be impressive and functional only as knobs in the console. There is also too much extending and borrowing on the manuals. I would suggest going back and starting with the backbone chorus of 8 4 2 for each division, and then adding extras. I've never seen the building, but I can say I have never seen a building which "could not" accommodate a tracker organ. If you have room for a console, you have room for a tracker organ! I'm not saying it is the only way to go, but saying that "there is no place to put it" is just fallacious. (and I say this all with a smile!)   ........................bruce cornely........................ o o o o ______________ o o o o o h o o ______________ o o g o o o s o ______________ o a o o   ............. cremona84000@webtv.net ............   Dogs love company. They place it first in their short list of needs. --- J. R. Ackerly    
(back) Subject: Re: U.M.Bethany proposal From: "John L. Speller" <jlspeller@stlnet.com> Date: Sun, 6 Sep 1998 17:46:42 -0500 (CDT)   At 02:16 PM 9/6/98 -0400, Jason Comet wrote: >That's what I was thinking. We would have to tear up the altar floor and >lay the trackers horizontal.   In most cases this would only be necessary if you had a tracker organ with detached console. I am rather doubtful about the wisdom of doing this in any case, since it is rare for detached-console trackers to have as comfortable an action as those with an attached console. Personally I would rather have an attached console with electric action organs as well. There seems to be a myth that by having a detached console you hear the organ, choir, congregation, etc., balance. This is a very dangerous assumption, since it is rarely the case, and whether the console is detached or not it is rare that there is a satisfactory balance, and there is no substitute for having someone else play the organ with various registrations while you listen to the organ, choir and congregation from different parts of the building and LEARN how best to get things in balance.   John.    
(back) Subject: Re: U.M.Bethany proposal From: Prestant16@aol.com Date: Sun, 6 Sep 1998 19:20:07 EDT     << Let's hear it for electropneumatic action. After all, we're almost in the 21st century and electropneumatic action does provide added flexibility! >>   I know that e-p action will last about 50 years, in rare cases as much as 80 years, but usually by then more than half the organ is functioning. I have learned that when any type of electrical parts are used in organs (stop action in trackers, blowers, combination action, etc...) that is always the problem when the organ needs to be serviced. The fact is, purely mechanical organs will need very little maintenance, and stays in tuned better than organs that don't use a slider chests.   With slider chests pipes tend to "pull" into tune. It is always easier to repair mechanical action, there is no guess work, you just see what is wrong, replace a tracker, or adjust the action a little, which in rarely needed today since a "floating" action is used in most mordern trackers. Also, the organist has controal over the speech of each note, making a flute chiff or not, accenting a solo line, etc.   I AM NOT saying that mechanical action is always the best way to go, but for smaller churches that are looking for an insturment that needs little adjusing, and two tunings a year (you will have to bear with the reeds during the summer) a mechanical action insturment is the most economical choice. In other cases, options are limited and e-p, pull down or Direct Valve action must be used. Please know that I enjoy playing a good electric action organ, a very good example is the E. M. Skinner organs. They will last about 65 years before being releathered, then they will last another 65.   Mechanical action is the most economical and time proven action in the world.   -William C.