PipeChat Digest #512 - Monday, September 7, 1998
 
Re: BUMCOSL
  by "bruce cornely" <cremona84000@webtv.net>
Re: U.M.Bethany proposal
  by "bruce cornely" <cremona84000@webtv.net>
Re: U.M.Bethany proposal
  by "bruce cornely" <cremona84000@webtv.net>
Wishbooks
  by "Robert Horton" <r-horton@nwu.edu>
Re: PipeChat Digest #511 - 09/06/98
  by "Robert Horton" <r-horton@nwu.edu>
Re: U.M.Bethany proposal
  by "bruce cornely" <cremona84000@webtv.net>
Re: Wishbooks
  by "bruce cornely" <cremona84000@webtv.net>
Re: U.M.Bethany proposal
  by "John L. Speller" <jlspeller@stlnet.com>
Re: U.M.Bethany proposal
  by "bruce cornely" <cremona84000@webtv.net>
U.M.Bethany proposal
  by "Richard Schneider" <arpncorn@davesworld.net>
"ORANGIST"
  by "Stanley E Yoder" <syoder+@andrew.cmu.edu>
Re: "ORANGIST"
  by <GRSCoLVR@aol.com>
Re: "ORANGIST"
  by "Wendell Openshaw" <wopensh1@san.rr.com>
 


(back) Subject: Re: BUMCOSL From: cremona84000@webtv.net (bruce cornely) Date: Sun, 6 Sep 1998 19:24:21 -0400 (EDT)   Jason, I "pushed" what I would eliminate to the right! *-*-*-*-*-*#1=A0spec.*-*-*-*-*-*-*-*-*-*-*-*-*-*- G: 16 =A0 =A0 Gemshorn 8 =A0 =A0 =A0 Principal 8 =A0 =A0 =A0 Bourdon/Rohrflote Spitzflote 8 =A0 =A0 =A0 (omit) Gemshorn 4 =A0 =A0 =A0 Octave 4 =A0 =A0 =A0 Spitzflote Gemshorn/Traverseflote 2 2/3 =A0 Twelfth NO (borrowed?) 2 =A0 =A0 =A0 Fifteenth Mixture III 8 =A0 =A0 =A0 Trumpet Chimes S: 16 =A0 =A0 Bourdon tc 8 =A0 =A0 =A0 Hohflote Bourdon (Ext) 8 =A0 =A0 =A0 Viole (actually a small principal) 8 =A0 =A0 =A0 Viole Celeste (TC) 4 =A0 =A0 =A0 Prestant 4 =A0 =A0 =A0 Flute Harmonic 2 2/3 =A0 Nasard 2 =A0 =A0 =A0 Octavin 1 3/5 =A0 Tierce Sesquilatera II 16 =A0 =A0 Basson 8 =A0 =A0 =A0 Trompette 8 =A0 =A0 =A0 Oboe (Ext) 4 =A0 =A0 =A0 Clarion 8 =A0 =A0 =A0 Vox Humana Tremulant C: 8 =A0 =A0 =A0 Flauto Dolce 8 =A0 =A0 =A0 Flauto Celeste II rk (AA) 8 =A0 =A0 =A0 Gedeckt 4 Principal 4 =A0 =A0 =A0 Koppelflote 2 =A0 =A0 =A0 Blockflote 1 1/3 =A0 Larigot (should be a flute) Quartane II 8 =A0 =A0 =A0 Cromorne (TC) 8 =A0 =A0 =A0 Trumpet (Gt) P: 32 =A0 =A0 Resulant (derived or seperate rks?) (would be more successful if an independent 10-2/3 from 1-12, then 16' from 13; the quint rank should be softer than the unison) 16 =A0 =A0 Principal or Open Wood 16 =A0 =A0 Gemshorn (Gt) 16 =A0 =A0 Bourdon (SW) 8 =A0 =A0 =A0 Octave (Ext if Principal) 8 =A0 =A0 =A0 Gemshorn (Gt) 8 =A0 =A0 =A0 Gedeckt (Sw) 4 =A0 =A0 =A0 Choralbasse (Ext) 4 =A0 =A0 =A0 Flute (Sw) 16 =A0 =A0 Trombone (Gt) 16 =A0 =A0 Basson (Sw) 8 =A0 =A0 =A0 Trumpet (Gt) 4 =A0 =A0 =A0 Clarion (Gt) 4 =A0 =A0 =A0 Cromorne (Ch) *-*-*-*-*-*#2=A0spec*-*-*-*-*-*-*-*-*-*-*-*-*-*-* G: 16 =A0 =A0 Violone (from F#7) (Ped-Sw) 8 =A0 =A0 =A0 Principal 8 =A0 =A0 =A0 Harmonic Flute 8 =A0 =A0 =A0 Gamba Violoncello (Sw) 4 =A0 =A0 =A0 Octave 4 =A0 =A0 =A0 Chimney Flute 2 2/3 =A0 12th 2 =A0 =A0 =A0 15th Mixture III 8 =A0 =A0 =A0 Trumpet Hooded Trumpet Chimes S: 16 =A0 =A0 Bourdon 16 tc Gedeckt (ext chmny.flt?) 8 =A0 =A0 =A0 Violoncello 8 =A0 =A0 =A0 Cello Celeste (TC) 8 =A0 =A0 =A0 Chimney Flute 4 =A0 =A0 =A0 Principal 4 =A0 =A0 =A0 Spire Flute Chimney Flute ext 2 2/3 =A0 Nasard 2 =A0 =A0 =A0 Octavin 1 3/5 =A0 Tierce Scharff II Reeds same as before 8 =A0 =A0 =A0 Vox Humana Tremulant C: 8 Small Principal 8 =A0 =A0 =A0 Gedeckt 8 =A0 =A0 =A0 Dulciana 8 =A0 =A0 =A0 Celeste 4 =A0 =A0 =A0 Koppelflote 2 =A0 =A0 =A0 blockflote 1 1/3 =A0 Larigot Quartane II 8 =A0 =A0 =A0 Cromorne (TC) Tremulant 8 =A0 =A0 =A0 Trumpet (Gt) P: 32 =A0 =A0 Resulant 16 =A0 =A0 Principal 16 =A0 =A0 Violone (Sw) 16 =A0 =A0 Bourdon 16 =A0 =A0 Gedeckt (Sw) 8 =A0 =A0 =A0 Octave (Ext) 8 =A0 =A0 =A0 Violone (Sw) 8 =A0 =A0 =A0 Gedeckt Chimney Flute (Sw) 4 =A0 =A0 =A0 Super Octave (Ext) 4 =A0 =A0 =A0 Flute (Sw) Fourniture II Reeds same as before 16 16 8 4 4 *-*-*-*-*-*#3=A0Spec*-*-*-*-*-*-*-*-**-*-*-*----* G: 8 =A0 =A0 =A0 Diapason 8 =A0 =A0 =A0 Bourdon 4 =A0 =A0 =A0 Octave 4 =A0 =A0 =A0 Harmonic Flute 2 2/3 Twelfth 2 =A0 =A0 =A0 Super Octave Octavin =A0=A0=A0=A0=A0=A0=A0=A0 =A0Mixture III 8 =A0 =A0 =A0 Trumpet S: 16 =A0 =A0 Bourdon tc 8 =A0 =A0 =A0 Gedeckt (Ext) 8 =A0 =A0 =A0 Salicional 8 =A0 =A0 =A0 Vox Celeste 4 =A0 =A0 =A0 Principal 2 =A0 =A0 =A0 Blockflote Doublette 1 1/3 =A0 Larigot 16 English Horn 8 =A0 =A0 =A0 Trompette 8 =A0 =A0 =A0 Fagotto 4 =A0 =A0 =A0 Clarion (Ext trumpet or oboe?) Tremulant C: =A0 (2's or no?) 8 Principal 8 =A0 =A0 =A0 Holz Gedeckt 8 =A0 =A0 =A0 Flute Celeste (TC) 4 =A0 =A0 =A0 Koppelflute Flute Harmonic 2 2/3 =A0 Nasard 2 Gemshorn 1 3/5 =A0 Tierce 8 =A0 =A0 =A0 Clarinet English Horn Tremulant Zimbelstern P: 32 =A0 =A0 Resulant 16 =A0 =A0 Open Wood 16 Bourdon 16 =A0 =A0 Gedeckt (Sw) 8 =A0 =A0 =A0 Principal (Gt?) 8 =A0 =A0 =A0 Gedeckt (Sw) 4 =A0 =A0 =A0 Choral Bass 4 =A0 =A0 =A0 Flute (Sw) =A0=A0=A0=A0=A0=A0=A0=A0 =A0 =A0 =A0 Mixture III (Gt) 16 =A0 =A0 Trombone (Gt) 16 =A0 =A0 Fagotto (Sw) 8 =A0 =A0 =A0 Trompette (Sw) 4 =A0 =A0 =A0 Clarion (Sw) 4 =A0 =A0 =A0 Cromorne *-*-*-*-*-*#4=A0spec*-*-*-*-*-*-*-*-*-*-*-*-*-*-* G: 16 =A0 =A0 Sub Principal (from F#7) 8 =A0 =A0 =A0 Principal (Ext) 8 =A0 =A0 =A0 Harmonic Flute 8 =A0 =A0 =A0 Chimney Flute 8 =A0 =A0 =A0 Gemshorn 4 =A0 =A0 =A0 Octave 4 =A0 =A0 =A0 Nachthorn 2 2/3 =A0 Nasard 2 =A0 =A0 =A0 Super Octave 2 =A0 =A0 =A0 Block Flute 1 3/5 =A0 Tierce =A0=A0=A0=A0=A0=A0=A0=A0 =A0Mixture 16 =A0 =A0 Double Trumpet (fm #7) ContraHaut (Sw) 8 =A0 =A0 =A0 Trumpet Tremulant S: 16 =A0 =A0 Bourdon 8 =A0 =A0 =A0 Geigen Principal 8 =A0 =A0 =A0 Viola 8 =A0 =A0 =A0 Viola Celeste 8 =A0 =A0 =A0 Bourdon (Ext) 4 =A0 =A0 =A0 Principal 4 =A0 =A0 =A0 Harmonic Flute 2 2/3 =A0 Rohr Nasat 2 =A0 =A0 =A0 Flageolet Mixture 16 =A0 =A0 Contra Hautbois 8 =A0 =A0 =A0 Trompette =A0 8 =A0 =A0 Hautbois 8 =A0 =A0 =A0 Vox Humana 4 =A0 =A0 =A0 Clarion Tremulant C: 8 =A0 =A0 =A0 Salicional 8 =A0 =A0 =A0 Voix Celeste 8 =A0 =A0 =A0 Gedeckt 8 =A0 =A0 =A0 Flauto Dolce 8 =A0 =A0 =A0 Flute Celeste 4 =A0 =A0 =A0 Principal 4 =A0 =A0 =A0 Koppelflote 2 =A0 =A0 =A0 Octave 1 1/3 =A0Larigot Ninteenth Quartane II 8 =A0 =A0 =A0 Cromorne (TC) 4 =A0 =A0 =A0 Rohr Schalmei Tremulant 8 =A0 =A0 =A0 Trumpet (Gt) P: 32 =A0 =A0 Resulant 32 =A0 =A0 Contra Bourdon (elec. or ext Sw) 16 =A0 =A0 Princpal (Gt) 16 =A0 =A0 Violone 16 =A0 =A0 Bourdon (Sw) 8 =A0 =A0 =A0 Principal (ext) 8 =A0 =A0 =A0 Gedeckt Bourdon (Sw) 8 =A0 =A0 =A0 Violone (Exst) 4 =A0 =A0 =A0 Choralbasse (Ext) 4 =A0 =A0 =A0 Flute (Sw) Mixture 32 Contra Posaune (Elec) 16 =A0 =A0 Posaune (Gt) 16 =A0 =A0 Contra Hautbois (Sw) 8 =A0 =A0 =A0 Trumpet 4 =A0 =A0 =A0 Clarion (Gt) 4 =A0 =A0 =A0 Hautbois (Sw) *-*-*-*-*#5=A0spec*-*-*-*-*-*-*-*-*-*-*-*-*-*--*- G: 8 =A0 =A0 =A0 Diapason 8 =A0 =A0 =A0 Melodia 8 Dulciana 4 =A0 =A0 =A0 Octave 2 2/3 =A0 Octave Quint 2 =A0 =A0 =A0 Super Octave Chimes Tremulant Cymbelstern S: 16 =A0 =A0 Bourdon tc Spitzflote (Ext) 8 =A0 =A0 =A0 Geigen Principal 8 =A0 =A0 =A0 Bourdon 8 =A0 =A0 =A0 Salicional 8 =A0 =A0 =A0 Voix Celeste 4 =A0 =A0 =A0 Principal 4 =A0 =A0 =A0 Spitz Flute 2 2/3 =A0 Nasat 2 =A0 =A0 =A0 Flautino 8 =A0 =A0 =A0 Trumpet 8 =A0 =A0 =A0 Oboe 8 =A0 =A0 =A0 Vox Humana 4 =A0 =A0 =A0 Hautbois Clarion (?) Tremulant Vox Tremulant C: 8 =A0 =A0 =A0 Gedeckt 8 =A0 =A0 =A0 Viola Dulciana 4 =A0 =A0 =A0 Dulcet (Ext) 4 =A0 =A0 =A0 Gemshorn 2 2/3 =A0 Nasat 2 =A0 =A0 =A0 Principal 2 =A0 =A0 =A0 Dulcet Fifteenth (Ext) 1 3/5 =A0 Tierce 1 1/3 =A0 Larigot Quint 1 Sifflote 8 =A0 =A0 =A0 Clarinet Tremulant Harp Antiphonal: 8 =A0 =A0 =A0 Rohr Flute 4 =A0 =A0 =A0 Gemshorn 2 =A0 =A0 =A0 Flachflote 8 =A0 =A0 =A0Fagatto Singend Regal P: 16 =A0 =A0 Subbass 16 =A0 =A0 Spitzflote (Sw) 16 =A0 =A0 Leiblich Gedeckt 10 2/3 Quint 8 =A0 =A0 =A0 Principal 8 =A0 =A0 =A0 Bass Flute (Ext) 8 =A0 =A0 =A0 Spitzflote (Sw) 4 =A0 =A0 =A0 Super Octave 4 =A0 =A0 =A0 Spitz Flute (Sw) 16 =A0 =A0 Fagotto Trumpet (Sw) 8 =A0 =A0 =A0 Trumpet (Sw) 4 =A0 =A0 =A0 Clarion (Sw) *-*-*-*-*-*#6=A0spec*-*-*-*-*-*-*-*-*-*-*-*-*-*-* G: 8 =A0 =A0 =A0 Principal 8 =A0 =A0 =A0 Rohr Flute 4 =A0 =A0 =A0 Principal 4 Spitzflote 2 2/3 Twelfth 2 =A0 =A0 =A0 Octave Mixture III 8 =A0 =A0 =A0 Trompette (Sw) S: 8 =A0 =A0 =A0 Gedeckt 4 =A0 =A0 =A0 Spitz Principal 2 2/3 =A0 Nasard 2 Blockflote 1 3/5 =A0 Tierce =A0=A0=A0=A0=A0=A0=A0=A0 =A0 =A0 =A0 Plein Jeu II 16 =A0 =A0 Dulzian Trompette 8 =A0 =A0 =A0 Trompette (Ext) 8 =A0 =A0 =A0 Oboe Schalmei 4 =A0 =A0 =A0 Schalmei (Ext) Tremulant C: 8 =A0 =A0 =A0 Gemshorn 8 =A0 =A0 =A0 Gemshorn Celeste (TC) 4 =A0 =A0 =A0 Koppelflote 2 =A0 =A0 =A0 Principal Doublette 1 1/3 =A0 Larigot 8 Rohrschalmei Tremulant *-*-*-*-*#7=A0spec*-*-*-*-*-*-*-*-*-*--*-*-*-*-*- G: 16 =A0 =A0 Quintade 8 =A0 =A0 =A0 Principal 8 =A0 =A0 =A0 Chimney Flute 4 =A0 =A0 =A0 Octave 4 =A0 =A0 =A0 Spire Flute 2 =A0 =A0 =A0 Fifteenth Mixture III 8 =A0 =A0 =A0 Trumpet Chimes S: 8 =A0 =A0 =A0 Viole de Gambe 8 =A0 =A0 =A0 Viole Celeste 8 =A0 =A0 =A0 Bourdon 4 =A0 =A0 =A0 Principal 2 =A0 Blockflote =A0 =A0 Doublette Cymbal III 8 =A0 =A0 Bassoon (Ext) 8 =A0 =A0 =A0 Trompette Hautbois(Ext) 4 =A0 =A0 =A0 Clarion (Ext) C: 8 =A0 =A0 =A0 Gedeckt 4 =A0 =A0 =A0 Spitz Principal 4 =A0 =A0 =A0 Koppelflote 2 2/3 =A0 Nasard 2 =A0 =A0 =A0 Recorder 1 3/5 =A0 Tierce 1 1/3 =A0 Larigot 8 =A0 =A0 =A0 Krummhorn (TC) P: 32 =A0 =A0 Resulant 16 Principal/Open Wood Contra Violone 16 =A0 =A0 Bourdon Quintade 16 =A0 =A0 Open Wood 8 =A0 =A0 =A0 Principal 8 =A0 =A0 =A0 Gedeckt (Sw) 4 =A0 =A0 =A0 Koppelflote (Ch) 4 =A0 =A0 =A0 Choralbass (Ext) Mixture II 16 =A0 =A0 Trombone (Gt) 16 =A0 =A0 Bassoon (Sw) 10 2/3 Reed Quint (Sw) 8 =A0 =A0 =A0 Trumpet (Gt) 4 =A0 =A0 =A0 Clarion (Sw) 4 =A0 =A0 =A0 Krummhorn (Ch) *-*-*-*-*-*#8=A0spec*-*-*-*-*-*-**-*-*-*-*-*-*-*- G: 16 =A0 =A0 Bourdon 8 =A0 =A0 =A0 Open Diapason 8 =A0 =A0 =A0 Stopped Diapason 4 =A0 =A0 =A0 Octave 4 =A0 =A0 =A0 Open Flute 2 Fifteenth Mixture III 8 =A0 =A0 =A0 Trumpet S: 8 =A0 =A0 =A0 Violin Diapason 8 =A0 =A0 =A0 Gedeckt 8 =A0 =A0 =A0 Viole 8 =A0 =A0 =A0 Viole Celeste 4 =A0 =A0 =A0 Principal 4 =A0 =A0 =A0 Spitzflute 2 =A0 =A0 =A0 Flageolet Plein Jeu III 16 =A0 =A0 Contra Fagotto 8 =A0 =A0 =A0 Cornopean 8 =A0 =A0 =A0 Oboe (Ext) 4 =A0 =A0 =A0 Clarion Tremulant C: 8 =A0 =A0 =A0 Salicional 8 =A0 =A0 =A0 Flute Celeste (TC) (II) 8 =A0 =A0 =A0 Gedeckt 4 =A0 =A0 =A0 Principal 4 =A0 =A0 =A0 Chimney Flute 2 2/3 =A0 Nasard 2 =A0 =A0 =A0 Fifteenth 2 =A0 =A0 =A0 Gemshorn 1 3/5 =A0 Tierce Quartane II 8 =A0 =A0 =A0 Corno do Bassetto Tremulant 8 =A0 =A0 =A0 Trumpet (Gt) P: 16 =A0 =A0 Open Diapason 16 =A0 =A0 Dulciana 16 =A0 =A0 Bourdon 10 2/3 Quinbt 8 =A0 =A0 =A0 Principal (Ext) 8 =A0 =A0 =A0 Stopped Flute (Ext) 4 =A0 =A0 =A0 Fifteenth (Ext) 4 =A0 =A0 =A0 Wald Flute =A0=A0=A0=A0=A0=A0=A0=A0 =A0 =A0 =A0 Mixture II 16 =A0 =A0 Trombone (Gt) 16 =A0 =A0 Fagotto (Sw) 8 =A0 =A0 =A0 Trumpet Corneopean (Sw) 4 =A0 =A0 =A0 Clarion (Sw) 4 =A0 =A0 =A0 Corno di Bassetto *-*-*-*-*-*#9=A0spec*-*-*-*-*-*-*-**-*-*-*-*-*-*- THIS ONE WOULD BE FOR A TEACHIGN/PRACTICING INSTURMENT SOMEPLACE ELSE IN THE CHURCH!!!!!! Great: 8 =A0 =A0 =A0 Principal 8 =A0 =A0 =A0 Gedeckt 4 =A0 =A0 =A0 Octave 4 =A0 =A0 =A0 Gemshorn (Sw) Sesquilatera II 2 =A0 =A0 =A0 Super Octave 8 =A0 =A0 =A0 Cromorne Fagotto (Sw) Tremulant Swell: 8 =A0 =A0 =A0 Rohr Flute 8 =A0 =A0 =A0 Gemshorn 8 =A0 =A0 =A0 Celeste 4 =A0 =A0 =A0 Principal 4 =A0 =A0 =A0 Rohr Flute 2 =A0 =A0 =A0 Blockflote Gemshorn 1 1/3 Larigot Rohr Flute 8 =A0 =A0 =A0 Fagotto Tremulant Pedal: 16 =A0 =A0 Subbass 8 =A0 =A0 =A0 Principal 8 =A0 =A0 =A0 Rohrflute(Sw) 4 =A0 =A0 =A0 Octave 16 =A0 =A0 Fagott (Sw) 8 =A0 =A0 =A0 Fagott (Sw) 4 =A0 =A0 =A0 Fagott(Sw)   ........................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: cremona84000@webtv.net (bruce cornely) Date: Sun, 6 Sep 1998 19:39:04 -0400 (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 And from the non-tracker alternatives, it reputedly is the most musical (with respect to pipe speech) and from my experience is more accessible for service and repair. It's my second choice.   ........................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: cremona84000@webtv.net (bruce cornely) Date: Sun, 6 Sep 1998 19:58:24 -0400 (EDT)   I'll probably get flamed for this, but I feel that many EP organs could be saved if the organist would learn how to repair worn out pouches and pneumatics (from their registered, trained, professional, certified tuner/technician, of course). Pneumatic pouchboards could removed a few at a time and repaired during the week in a few hours time. The organ would be functioning all the time and things would not progress to the "it will cost too much" point. I have done this with several organs in churches where I worked. The churches were very happy to pay me for the work. Small amount piecemeal are much more tolerable than a bill for twice the original price of the organ!   ........................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: Wishbooks From: Robert Horton <r-horton@nwu.edu> Date: Sun, 06 Sep 1998 19:12:19 -0500   >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! Greg, There's nothing wrong with dreaming. Be honest, we all do it, and this is probably the only place on earth where we can share our "specification fantasies" and find sympathetic ears. My own personal fantasy has always been Major and Minor Principals on the Great. Share stuff like this with someone off the street...heck, even one's own family and friends...and they'll think you're insane (e.g."...a Contradoppel-what?"). I'm sure that the Bethany church will have plenty of sobering, disinterested, and educated counsel regarding the new instrument, so we shouldn't worry about all this fanciful nonsense ever actually being built/perpetrated (I hope). But who knows? one of these fantasies might actually turn up a good idea some day!   Head in the clouds... 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 #511 - 09/06/98 From: Robert Horton <r-horton@nwu.edu> Date: Sun, 06 Sep 1998 19:12:52 -0500   At 06:32 PM 9/6/98 -0500, you wrote: >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. Now, now, children, we had this same argument two months ago and that's why I left PIPORG-L. Let's not see the same thing on PIPECHAT! Even as a die-hard "trackerbacker" myself, I can't agree with the above statement. The "pulling" effect of the tone channels in a slider chest is pretty subtle, and is usually obliterated by the wild temperature changes in most sanctuaries. Unless you have good climate control (something that's not just important for the organ, but anything else of value in the sanctuary), *all* organs will eventually work their way miserably out of tune. Trackers need maintainence, I'd venture that they need just as much TLC as a Moller or a Wicks. However, mechanical problems are often simpler to diagnose and repair, so it might FEEL like you're doing less work because you can handle little individual things one at a time. As a engineer/technician, it also just "feels" more satisfying to do minute adjustments on a tracker. It's hard to put this into words, but if I have to go crawling into a chamber through five decades of dust, cobwebs, and dead insects, I feel somewhat vindicated if it's to free a stuck pallet or to tighten a tracker. OTOH, getting covered in crap just to go in to clean off a sticky armature leaves me feeling let down...   >replace a tracker, or adjust the action a little, which in rarely needed today >since a "floating" action is used in most mordern trackers. Aren't floating actions going out of style now? I believe the direct suspended action is currently preferred, especially when the claviers are furnished with adjusting screws to compensate for changes in humidity. The large Flentrop in the Cathedral of the "Holy Shame" in Chicago is a good example of this.   Robert Horton, Organist http://www.geocities.com/Vienna/Strasse/1028/   "Folks are too concerned with just size and length... ....length isn't important, it's speed and flexibility."  
(back) Subject: Re: U.M.Bethany proposal From: cremona84000@webtv.net (bruce cornely) Date: Sun, 6 Sep 1998 20:28:39 -0400 (EDT)     <Let's hear it for electropneumatic action. After all, we're almost in the 21st century and electropneumatic action does provide added flexibility! =A0 It's my second choice. >   Um.... let's make that third choice. Electric-slider would be second! ;-)   ........................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: Wishbooks From: cremona84000@webtv.net (bruce cornely) Date: Sun, 6 Sep 1998 21:09:09 -0400 (EDT)     =A0>There's nothing wrong with dreaming. Be > honest, we all do it, and this is probably the > only place on earth where we can share our > "specification fantasies" and find sympathetic > ears. How true, how true. I'll bet Wicks, Moller, Reuter, Austin, Schantz, AEolian-Skinner, Holtkamp have received and sent boxes of material regarding my "dream organs" I have several boxes of brochures which they kindly sent in response to my "inquiries" about the new organ I was planning. I have even received copies of blueprint layout drawings which inspired my interest in organ building and design. There were even some from the early days with mitred 2' stops in the swell because the paper I was drawing on wasn't large enough!! (well, I was just a kid!). It was by the tolerance, patience, and helpfulness of established organ builders that I was encourage and drawn into a deep love of the pipe organ. It is up to us to pass this kindness and knowledge along to those who seek to follow in our Organmaster steps....   ........................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 21:46:12 -0500 (CDT)   At 08:28 PM 9/6/98 -0400, Bruce Cornely wrote: > ><Let's hear it for electropneumatic action. After all, we're almost in >the 21st century and electropneumatic action does provide added >flexibility! > =A0 It's my second choice. > > >Um.... let's make that third choice. Electric-slider would be second!   Up to now I have been in complete agreement with you, Bruce, but here I have to part company. Electric slider chests give very poor note repetition in the bass. Slider chests with either electro-pneumatic pulldowns or electro-pneumatic pallets are very much better. Thus electro-pneumatic slider chests would be my second choice and electro-pneumatic pitman chests my third, though pitman chests have much more leather to replace and therefore their long-term maintenance costs are much higher.   John. =20    
(back) Subject: Re: U.M.Bethany proposal From: cremona84000@webtv.net (bruce cornely) Date: Sun, 6 Sep 1998 23:15:04 -0400 (EDT)     >Electric-slider would be second!   > Slider chests with either electro-pneumatic > pulldowns or electro-pneumatic pallets are > very much better. I had forgotten about using EP pulldowns for slider chests. It does seem to follow, since EP works better for individual pneumatics than totally electric. And I can see how it would be better to use EP for large pipes, especially offset. WE AGREE!! I will be sure to keep this in mind when we replace our EP chests in the Great and Swell next year. An... ti... ci. paaaaaaaaaa...shun!   ........................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: U.M.Bethany proposal From: Richard Schneider <arpncorn@davesworld.net> Date: Sun, 06 Sep 1998 22:23:44 -0700   On Sun, 6 Sep 1998 16:41:16 EDT HMPORG1@aol.com wrote:   > Let's hear it for electropneumatic action. After all, we're almost in the > 21st century and electropneumatic action does provide added flexibility!   While we're at it:   Let's hear it for existing instruments that are available that are already nearly as large as what you're looking for!   With proper re-voicing, they can do a convincing job for about half the cost of new, yet with new organ warranties!   Not all re-cycled instruments available reside at the OCH. I'd be willing to bet money that you ask any builder and they prolly either have a suitable instrument for which they're looking for the perfect home, or else know of one available at ready hand.   I have a magnificent 3/48 manual instrument available currently. EMAIL me privately if you're interested in further details.   Everyone have a great Labor Day tomorrow. The boat goes out tomorrow for prolly the last time this Season <sigh!>   Faithfully,   Richard Schneider, President SCHNEIDER PIPE ORGANS, Inc. Organbuilders 41-43 Johnston Street Post Office Box 137 Kenney, IL 61749-0137 (217) 944-2454 VOX (217) 944-2527 FAX mailto:arpncorn@davesworld.net EMAIL (Note change in ISP's Domain-Name!)  
(back) Subject: "ORANGIST" From: Stanley E Yoder <syoder+@andrew.cmu.edu> Date: Sun, 6 Sep 1998 23:47:21 -0400 (EDT)   That's what was on the envelope containing my fee for a wedding yesterday.   If that means a devotee of the House of Orange, well, I'm Pennsy Dutch, not Irish! If it means I play juicy music, well, sometimes, mayhap.   Anyway, the pastor and I (and the County of Allegheny, Commonwealth of Penna., and The Lord) successfully got them rammied, er....... married.   Orangist. Pshaw! Stan Yoder Pittsburgh  
(back) Subject: Re: "ORANGIST" From: GRSCoLVR@aol.com Date: Sun, 6 Sep 1998 23:57:43 EDT   LOLOL-----Orangist Pshaw,,,,heheheheh Thats rich Stan,,,,,,I liked that little discourse!   Roc (L V Rockafellow)  
(back) Subject: Re: "ORANGIST" From: Wendell Openshaw <wopensh1@san.rr.com> Date: Sun, 06 Sep 1998 20:12:50 -0700   >Orangist Pshaw   Stan, kindly stop misspelling my name!   Sincerely, Wendell Openshaw   P.S. I am a long-time lurker and no organist, but I do like organs and oranges, and have been told that my back looks like an orangutan's! (this by a Frenchwoman, who oughta know)