PipeChat Digest #1730 - Thursday, December 28, 2000
 
RE: Touch-ups on Biggs' recordings
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
The Same Old Flame War - Was: Benaroya Hall organ (tracker) --
  by "David Carter" <david_n_carter@hotmail.com>
Fw: Cinema organs (Barton)
  by "VEAGUE" <dutchorgan@svs.net>
Re: The Authentic Tracker organ
  by <RonSeverin@aol.com>
Severance Hall in Cleveland,Oh.
  by "Jerald Marshall" <marshallduet@ameritech.net>
Re: The Authentic Tracker organ
  by <TRACKELECT@cs.com>
Re: Benaroya Hall organ (tracker, 1998) -- basically good forfirewood...
  by "M. Hackett" <mikehack@u.washington.edu>
Barton sound
  by "M. Hackett" <mikehack@u.washington.edu>
RE: Benaroya Hall organ (tracker) -- basically good   forfirewood.	..
  by "Bob Scarborough" <desertbob@rglobal.net>
Re: Benaroya Hall organ (tracker) -- basically good   forfirewood. ..
  by "Bob Scarborough" <desertbob@rglobal.net>
Re: Benaroya Hall organ [Seattle, USA] (tracker, 1998) -- basically good 
  by "M. Hackett" <mikehack@u.washington.edu>
Hope-Jones Master-->(Slave1, Slave2): Trackers
  by "M. Hackett" <mikehack@u.washington.edu>
Re: STH Organ
  by "Bob Elms" <elmsr@albanyis.com.au>
RE: Benaroya Hall organ (tracker) -- basically good   forfirewood.	 ..
  by "Bob Scarborough" <desertbob@rglobal.net>
Re: Benaroya Hall organ (tracker) -- basically good  forfirewood.	 ..
  by "Ben Baldus" <bbaldus@voyager.net>
Re: Severance Hall in Cleveland,Oh.
  by <DudelK@aol.com>
Re: The Authentic Tracker organ
  by <Cremona502@cs.com>
 

(back) Subject: RE: Touch-ups on Biggs' recordings From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Thu, 28 Dec 2000 13:34:08 -0500   This message is in MIME format. Since your mail reader does not understand this format, some or all of this message may not be legible.   ------_=3D_NextPart_001_01C070FC.C401F60A Content-Type: text/plain; charset=3D"iso-8859-1"   Well, she does believe in keeping an stiff upper lift.     So what are you telling us--that Elizabeth Schwarzkopf came in and played the high notes?   ducking and running,   Bob Lind     ------_=3D_NextPart_001_01C070FC.C401F60A Content-Type: text/html; charset=3D"iso-8859-1"   <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META HTTP-EQUIV=3D"Content-Type" CONTENT=3D"text/html; = charset=3Diso-8859-1"> <TITLE>Re: Touch-ups on Biggs' recordings</TITLE>   <META content=3D"MSHTML 5.00.3013.2600" name=3DGENERATOR></HEAD> <BODY> <DIV><FONT color=3D#008000 face=3DTahoma size=3D2><SPAN = class=3D949253318-28122000>Well, she does believe in keeping an stiff upper lift.</SPAN></FONT></DIV> <BLOCKQUOTE style=3D"BORDER-LEFT: #008000 2px solid; MARGIN-LEFT: 5px; PADDING-LEFT: = 5px"> <DIV align=3Dleft class=3DOutlookMessageHeader dir=3Dltr><FONT = face=3DTahoma size=3D2>&nbsp;</DIV></FONT> <UL> <P><FONT face=3DHelv size=3D2>So what are you telling us--that = Elizabeth Schwarzkopf came in and played the high notes?</FONT> </P> <P><FONT face=3DHelv size=3D2>ducking and running,</FONT> </P> <P><FONT face=3DHelv size=3D2>Bob Lind</FONT> = </P></UL></BLOCKQUOTE></BODY></HTML>   ------_=3D_NextPart_001_01C070FC.C401F60A--  
(back) Subject: The Same Old Flame War - Was: Benaroya Hall organ (tracker) -- From: "David Carter" <david_n_carter@hotmail.com> Date: Thu, 28 Dec 2000 20:27:37   Finally, someone has expressed quite eloquently (more so than I could have =   done), the feeling I have towards the seemingly constant flame wars concerning the myriad types of organs that are available for us to play.   >From: Innkawgneeto@webtv.net >Reply-To: "PipeChat" <pipechat@pipechat.org> >To: pipechat@pipechat.org (PipeChat) >Subject: Re: Benaroya Hall organ (tracker) -- >Date: Thu, 28 Dec 2000 00:05:06 -0500 (EST)   >........ >It's about <<<!!!---using what is available---!!!>>> to make music to the =   >best of one's >ability and to communicate with the listener in some way through music. > >Neil B. >   (highlights added) P.S. Reading the various postings to this list (and also PIPORG) is giving =   me encouragement to immersing myself again in organ playing. Please keep = up what you're doing. It's extremely valuable to read others peoples = feelings, opinions, etc. about organ music and organ playing. _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com    
(back) Subject: Fw: Cinema organs (Barton) From: "VEAGUE" <dutchorgan@svs.net> Date: Thu, 28 Dec 2000 17:58:01 -0500   This is a multi-part message in MIME format.   ------=3D_NextPart_000_0022_01C070F7.B805E140 Content-Type: text/plain; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   Dan Barton (Oshkosh, Wisc.) mostly made instrument installations in =3D Wisconsin, Illinois, Indiana and Michigan. Most complaints I've heard =3D were.....no brilliance in their upper-end pipework. WurliTzer and others = =3D had brilliance in their top octaves that could call dogs, but Barton =3D apparently lacked in any of this....hence, they sounded somewhat 'tubby = =3D '. Barton built his organs on a rather large scale- metal Tibia uppers big = =3D around as tea cups, tuned percussions on a grand scale, etc. -much =3D bigger than Wurli, et al. Bartons have their own pleasing sound as do other manufacturers.=3D20 The Rialto Barton in Joliet, Illinois and the Temple Theatre in Saginaw, = =3D Michigan have excellent origional installations. On a scale, I'd say, Wurli, Kimball, Barton, Morton, etc.   Rick     ----- Original Message -----=3D20 From: Ben Baldus=3D20 To: PipeChat=3D20 Sent: Thursday, December 28, 2000 9:46 AM Subject: Re: Cinema organs (Barton)     I am the person who was curious about how Bartons rated in the theatre =3D organ hierarchy.=3D20 Ben Baldus=3D20   ScottFop@aol.com wrote:=3D20   In a message dated 12/27/00 6:00:14 PM Eastern Standard Time,=3D20 TubaMagna@aol.com writes:=3D20 =3D20 =3D20 Any other pipechatters have=3D20 familiarity with Bartons?=3D20 =3D20 Extremely. What would you like to know?=3D20   Scott F     ------=3D_NextPart_000_0022_01C070F7.B805E140 Content-Type: text/html; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META content=3D3D"text/html; charset=3D3Diso-8859-1" =3D http-equiv=3D3DContent-Type> <META content=3D3D"MSHTML 5.00.2614.3500" name=3D3DGENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=3D3D#fffff0> <DIV><FONT color=3D3D#ff00ff face=3D3DEric>Dan Barton (Oshkosh, Wisc.) =3D mostly made=3D20 instrument installations in Wisconsin, Illinois, Indiana and Michigan. =3D Most=3D20 complaints I've heard were.....no brilliance in their upper-end =3D pipework.=3D20 WurliTzer and others had brilliance in their top octaves that could call = =3D dogs,=3D20 but Barton apparently lacked in any of this....hence, they sounded =3D somewhat=3D20 'tubby '.</FONT></DIV> <DIV><FONT color=3D3D#ff00ff face=3D3DEric>Barton built his organs on a = =3D rather large=3D20 scale- metal Tibia uppers big around as tea cups, tuned percussions on a = =3D grand=3D20 scale, etc. -much bigger than Wurli, et al.</FONT></DIV> <DIV><FONT color=3D3D#ff00ff face=3D3DEric>Bartons have their own pleasing = =3D sound as do=3D20 other manufacturers. </FONT></DIV> <DIV><FONT color=3D3D#ff00ff face=3D3DEric>The Rialto Barton in Joliet, = =3D Illinois and the=3D20 Temple Theatre in Saginaw, Michigan have excellent origional=3D20 installations.</FONT></DIV> <DIV><FONT color=3D3D#ff00ff face=3D3DEric>On a scale, I'd say, Wurli, =3D Kimball, Barton,=3D20 Morton, etc.</FONT></DIV> <DIV>&nbsp;</DIV> <DIV><FONT color=3D3D#ff00ff face=3D3DEric>Rick</FONT></DIV> <DIV>&nbsp;</DIV> <DIV>&nbsp;</DIV> <DIV>----- Original Message ----- </DIV> <DIV style=3D3D"FONT: 10pt arial"> <DIV style=3D3D"BACKGROUND: #e4e4e4; font-color: black"><B>From:</B> = <A=3D20 href=3D3D"mailto:bbaldus@voyager.net" title=3D3Dbbaldus@voyager.net>Ben = =3D Baldus</A>=3D20 </DIV> <DIV><B>To:</B> <A href=3D3D"mailto:pipechat@pipechat.org"=3D20 title=3D3Dpipechat@pipechat.org>PipeChat</A> </DIV> <DIV><B>Sent:</B> Thursday, December 28, 2000 9:46 AM</DIV> <DIV><B>Subject:</B> Re: Cinema organs (Barton)</DIV></DIV> <DIV><BR></DIV>I am the person who was curious about how Bartons rated =3D in the=3D20 theatre organ hierarchy.=3D20 <P>Ben Baldus=3D20 <P><A href=3D3D"mailto:ScottFop@aol.com">ScottFop@aol.com</A> wrote:=3D20 <BLOCKQUOTE TYPE=3D3D"CITE"><FONT face=3D3Darial,helvetica><FONT =3D size=3D3D-1>In a message=3D20 dated 12/27/00 6:00:14 PM Eastern Standard Time,</FONT></FONT> =3D <BR><FONT=3D20 face=3D3Darial,helvetica><FONT size=3D3D-1><A=3D20 href=3D3D"mailto:TubaMagna@aol.com">TubaMagna@aol.com</A> =3D writes:</FONT></FONT>=3D20 <BR>&nbsp; <BR>&nbsp;=3D20 <BLOCKQUOTE=3D20 style=3D3D"BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; =3D MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"=3D20 TYPE=3D3D"CITE"><FONT face=3D3Darial,helvetica><FONT size=3D3D-1>Any = other =3D pipechatters=3D20 have</FONT></FONT> <BR><FONT face=3D3Darial,helvetica><FONT =3D size=3D3D-1>familiarity=3D20 with Bartons?</FONT></FONT> <BR>&nbsp;</BLOCKQUOTE> <P><FONT face=3D3DArial><FONT color=3D3D#000000><FONT =3D size=3D3D-1>Extremely.&nbsp; What=3D20 would you like to know?</FONT></FONT></FONT>=3D20 <P><FONT face=3D3DArial><FONT color=3D3D#000000><FONT = size=3D3D-1>Scott=3D20 F</FONT></FONT></FONT></P></BLOCKQUOTE></BODY></HTML>   ------=3D_NextPart_000_0022_01C070F7.B805E140--      
(back) Subject: Re: The Authentic Tracker organ From: <RonSeverin@aol.com> Date: Thu, 28 Dec 2000 18:17:12 EST   Dear Pipechatters:   I hope I'm not carrying this to extreme, but an authentic Baroque tracker organ was built *only* with hand tools, and possibly a copy of Dom Bedos near at hand. Most of the tools were not immediately available so they were fabricated by the builder himself and designed by him as needed. = There were no electric or steam power tools, and certainly no electric lights. Light was provided by candles, either made by a candler or Chandler or by the builder using tallow and bees wax poured into forms or ladled onto string in layers.   The tools by a blacksmith or by the builder himself. Gouges and saws were carefully sharpened for each use. Wood was planed by hand, as well as the metal. Holes were drilled using various kinds of hand drills, and = pegs used as fasteners. Glues were made using various substances, and heated when needed. Wood stains were made on site, and small wood pipes perhaps whittled piece by piece using a pocket knife. I hate thinking = about how difficult it must have been to make wooden pipe feet and drilling out the windways.   Quality leathers tanned for longevity, It was truely an art. There was no other way. The building frames required a knowledge of stress and weight distribution. Each instrument took literally years of trial and error to build. There were no short cuts, no unions, and not much money obtained for going to all this trouble.   Pipe scales must have been a nightmare, so trig. was an essential in working all this out. The decissions of where and how to place an organ, fabricating chests, winding systems, consoles and linkages, keys, pedal boards all this! The organ builder was *THE MAN* who made all this happen. There was no organ supply house down the street, and that's what made these organs one of a kind, and why they were so wonderful. The average output was a few to as many as forty total and took and entire lifetime.   No organ builder IMHO could possibly make this claim today, nor would it really be necessary. Most 19th and 20th Century organs were built with some form of power tools. Rebuilds and additions have taken place on these old organs, and are not really authentic anymore. Many of the pipes have been revoiced, keys, chests, consoles replaced, modern blowers installed. They are only a reflection of what they were. Needs have changed, = technology has advanced. Not even the fourteenth century Zion, Switzerland organ is completely original.   Having said all this, what would I prefer playing on? The answer is = simple, the most modern, and most advanced form of the instrument built today. I look at the modern organ as the culmination of all the hard, painstaking work of the past. In this perspective, I truely and completely appreciate what went on before and the men who loved and did this work, day in and day out.   Regards to all and a new Millenium,   Ron Severin  
(back) Subject: Severance Hall in Cleveland,Oh. From: "Jerald Marshall" <marshallduet@ameritech.net> Date: Thu, 28 Dec 2000 18:44:12 -0500   This is a multi-part message in MIME format.   ------=3D_NextPart_000_0015_01C070FE.2BC356C0 Content-Type: text/plain; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   Anyone intersted in the Norton Organ at the Severance Hall in Cleveland. = =3D Go to www.clevelandorchestra.com and go to the Norton Organ, or go to =3D the webpage, www.schantzorgan.com and click on "What's New" then click =3D on Severance. = =3D = =3D Enjoy! = =3D = =3D = =3D = =3D = =3D Jerry = =3D Marshall   ------=3D_NextPart_000_0015_01C070FE.2BC356C0 Content-Type: text/html; charset=3D"iso-8859-1" Content-Transfer-Encoding: quoted-printable   <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META http-equiv=3D3DContent-Type content=3D3D"text/html; =3D charset=3D3Diso-8859-1"> <META content=3D3D"MSHTML 5.50.4308.2900" name=3D3DGENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=3D3D#ffffff> <DIV><FONT face=3D3DArial size=3D3D2>Anyone intersted in the Norton Organ = at =3D the=3D20 Severance Hall in Cleveland. Go to <A=3D20 href=3D3D"http://www.clevelandorchestra.com">www.clevelandorchestra.com</A>= =3D and go=3D20 to the Norton Organ, or go to the webpage, <A=3D20 href=3D3D"http://www.schantzorgan.com">www.schantzorgan.com</A> and click = =3D on "What's=3D20 New" then click on&nbsp;Severance.=3D20 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&= =3D nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&n= =3D bsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= =3D sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs= =3D p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp= =3D ;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= =3D &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&= =3D nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&n= =3D bsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= =3D sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs= =3D p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp= =3D ;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= =3D &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&= =3D nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&n= =3D bsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= =3D sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=3D20 Enjoy!&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&= =3D nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&n= =3D bsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= =3D sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs= =3D p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp= =3D ;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= =3D &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&= =3D nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&n= =3D bsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= =3D sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs= =3D p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp= =3D ;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= =3D &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&= =3D nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;=3D2= 0 &nbsp;&nbsp;&nbsp;=3D20 &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&= =3D nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&n= =3D bsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= =3D sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs= =3D p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp= =3D ;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= =3D &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&= =3D nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&n= =3D bsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= =3D sp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbs= =3D p;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp= =3D ;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;= =3D &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&= =3D nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&n= =3D bsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nb= =3D sp;&nbsp;&nbsp;=3D20 &nbsp;&nbsp;&nbsp; &nbsp;&nbsp;&nbsp; Jerry =3D Marshall</FONT></DIV></BODY></HTML>   ------=3D_NextPart_000_0015_01C070FE.2BC356C0--    
(back) Subject: Re: The Authentic Tracker organ From: <TRACKELECT@cs.com> Date: Thu, 28 Dec 2000 18:59:49 EST   In a message dated 12/28/00 6:18:11 PM Eastern Standard Time, RonSeverin@aol.com writes:   << I hope I'm not carrying this to extreme >> It is interesting to study the historic records and works of Schnitger, Silberman and the other Baroque masters to see that while they did not = have the Bob Vila array of power tools they did indeed have factories of a = sort. Their "power tools" must have been driven by water power via belts. They = did not whittle wooden pipes with a knife. They employed considerable work = forces and lived quite well themselves. The small builders in the hinterlands had =   smaller workshops. Think about it, we are talking mostly about Germans = here. Warum bauen Sie etwas eigenhandig auf, wenn eine maschine es fur sie tun = kann?   Alan Von B  
(back) Subject: Re: Benaroya Hall organ (tracker, 1998) -- basically good forfirewood... From: "M. Hackett" <mikehack@u.washington.edu> Date: Thu, 28 Dec 2000 17:01:00 -0800 (PST)     I am totally de-suprised on this. The Seattle Paratmount (USA) Werli has a partial pneumatic control system, at least this is what I have heard. It is on of the ~3 rare 'original condition' PUBLIX #1 models in existance.   Many Wurlitzer models and designs do hark back to cav-coll ... perhaps a measure to speed production.   MP   > > Jane Parker Smith was quoted as saying, after playing a concert on > >the rather large Wurlitzer in the concert hall at Worthing on the > >English South Coast, that with the tremulants turned off, the sound was > >rather like that of a Cavaille-Coll!!!                
(back) Subject: Barton sound From: "M. Hackett" <mikehack@u.washington.edu> Date: Thu, 28 Dec 2000 17:06:01 -0800 (PST)     Barton organs sound totally different from Wurlitzers -- and due to being rarer ... have never fully entered the mindset of most TO listeners. Estey of Vermont I will throw into this same catagory.   PS: Are there any recordings of the OSKALED TO of ODESSA STATE THEATRE, RUS? Is there an OSKALED sound as well???     > You didn't mention Barton in your post. Are they considered to be poor = examples > of the theater organ genre? We have a III/23 Barton instrument near = where I live > that I consider to be very well-voiced and fine sounding organ. I'd = stick its > posthorn stop in my church in a moment's notice--if it were = available--it sounds > an awfully lot like a smaller version of a certain 8' Trompette = Militaire donated > to a certain big cathedral in London.                      
(back) Subject: RE: Benaroya Hall organ (tracker) -- basically good forfirewood. .. From: "Bob Scarborough" <desertbob@rglobal.net> Date: Thu, 28 Dec 2000 17:11:38 -0800   At 09:54 AM 12/28/2000 -0600, you wrote: >But what if the hall receives the most advanced acoustical treatment in >planning and construction and the organ is fitted with a second, >remote/moveable (electronic) console? Wouldn't that combination of= features >provide the best of all possible worlds for the scores of organists and >performing groups (and their audiences) who will utilize the room?<snip>   You miss the point. Tracker is TOO COSTLY...with NO benefits from money=20 spent! Of course, the "herds-worth of leather" pitman chests aren't the=20 real answer, either, since they'll be silent in 60 years, and will have to= =20 be rebuilt. The answer lies in electromagnetic action..."DE=AE", as Wicks= =20 calls it. Organ-types are too knee-jerk conservative and too fraught with= =20 tradition to really explore this technology, methinks! Quite simply, to=20 many, it probably makes too much SENSE! I swear, some of these people=20 would rather hook a water motor up to their blower and have a flood of=20 potable water running down the street, just because "that's the way they=20 USED to do it"!   DeserTBoB    
(back) Subject: Re: Benaroya Hall organ (tracker) -- basically good forfirewood. .. From: "Bob Scarborough" <desertbob@rglobal.net> Date: Thu, 28 Dec 2000 17:17:36 -0800   At 11:47 AM 12/28/2000 -0500, you wrote: >IListen carefully to the aforementioned >recording of Freiburg Cathedral and you can hear bouncing notes caused by= the >inertia of tracker action fitted with electric pulldowns.<snip>   THANK YOU, and excellent example! Tracker makes NO sense from an=20 engineering standpoint. It's been proven (and largely ignored by the=20 "organ cognoscenti") that tracker provides NO "articulation" of tone at any= =20 wind stiffer than about 1=BE"...hardly useful wind in a modern=20 instrument! Once back pressure increases beyond this point, the force the= =20 player has to exert on the pallet, as well as the inertia of all that=20 material in motion, deprives the player of ANY "articulation" at=20 all! So...knowing this, what's the advantage? Longevity? I think=20 not! Many of the claims for the longevity of tracker action are severely=20 inflated, methinks. The troubles encountered with tracker are simply=20 DIFFERENT...not fewer!   DeserTBoB    
(back) Subject: Re: Benaroya Hall organ [Seattle, USA] (tracker, 1998) -- basically good for firewood... From: "M. Hackett" <mikehack@u.washington.edu> Date: Thu, 28 Dec 2000 17:32:57 -0800 (PST)     Basically this organ was commissioned by the cultural ruling class as an insult to Puget Sound & Portland pipe organ builders ... and it shows!   Some standard organ building practices were sidestepped during construction -- like increasing the number of ranks by 20%!   Fritts [Tacoma, WA] (that does build very good trackers, ironically) has to maintain this organ.   MP   > >Benaroya Hall organ (tracker) -- basically good for firewood... > > > >Why?<snip> >=20 > Because it's yet ANOTHER screwed-up "Frisky=99", that's why!                      
(back) Subject: Hope-Jones Master-->(Slave1, Slave2): Trackers From: "M. Hackett" <mikehack@u.washington.edu> Date: Thu, 28 Dec 2000 17:39:01 -0800 (PST)     This is proof that the Hope-Jones mechnism / concept works!   > St George's Cathedral, Perth West OZ has two tracker organs (new) one at > each end of the building. Both can be played from a third electric > console.                              
(back) Subject: Re: STH Organ From: "Bob Elms" <elmsr@albanyis.com.au> Date: Fri, 29 Dec 2000 09:42:08 +0800   Bruce, it is a magnificent instrument. The whole thing sends shivers down my spine. I heard Fernando Germani with the SSO play the Poulenc Concerto on it about 40 years ago!!!! Those high pressure English reeds in those final chords!!! Bob E.   Cremona502@cs.com wrote: > > Well, they certainly can't complain about the organ having no strings or > celeste. On the Great, alone, the combination of Viola 8, Gamba 8 and > Spitzflute 7 would send shivers up and down one's spine!!! ;-) >    
(back) Subject: RE: Benaroya Hall organ (tracker) -- basically good forfirewood. .. From: "Bob Scarborough" <desertbob@rglobal.net> Date: Thu, 28 Dec 2000 17:27:18 -0800   At 11:55 AM 12/28/2000 -0500, you wrote: >So since Biggs to me is a god what's about the touching up? E.g., >what was touched up, lots o' mistakes that he made<snip>   Columbia's policy was to make multiple takes of any performance, if possible, and then "edit down" to a "perfect" master in the = post-production phase. The myriad of recordings of the Philadelphians under Ormandy, as well as piano performances by Entremont and others were similarly "gaffed". Armed with the almighty razor blade and trusty EditAll, a good editor could eliminate "clams" wherever necessary. Biggs was notorious = for such "clams" as he grew older, many brought on by his chronic arthritis, and possibly the onset of what we now know as being Carpel Tunnel = Syndrome, an occupational hazard of organists.   To the untrained ear. a good edit is tough to pick out, especially at high =   tape speeds, but anyone that's done any tape editing in production work = can usually spot it right away. Another repository of edits and overdubs: = the recordings of George Wright. A guy that NEVER did more than ONE take: Frank Sinatra...and he'd get it right first time, EVERY time!   DeserTBoB    
(back) Subject: Re: Benaroya Hall organ (tracker) -- basically good forfirewood. .. From: "Ben Baldus" <bbaldus@voyager.net> Date: Thu, 28 Dec 2000 21:00:08 -0500   Thank you, DesertBob, for your inestimable wisdom.   Ben Baldus   Bob Scarborough wrote:   > At 11:55 AM 12/28/2000 -0500, you wrote: > >So since Biggs to me is a god what's about the touching up? E.g., > >what was touched up, lots o' mistakes that he made<snip> > > Columbia's policy was to make multiple takes of any performance, if > possible, and then "edit down" to a "perfect" master in the = post-production > phase. The myriad of recordings of the Philadelphians under Ormandy, as > well as piano performances by Entremont and others were similarly > "gaffed". Armed with the almighty razor blade and trusty EditAll, a = good > editor could eliminate "clams" wherever necessary. Biggs was notorious = for > such "clams" as he grew older, many brought on by his chronic arthritis, > and possibly the onset of what we now know as being Carpel Tunnel = Syndrome, > an occupational hazard of organists. > > To the untrained ear. a good edit is tough to pick out, especially at = high > tape speeds, but anyone that's done any tape editing in production work = can > usually spot it right away. Another repository of edits and overdubs: = the > recordings of George Wright. A guy that NEVER did more than ONE > take: Frank Sinatra...and he'd get it right first time, EVERY time! > > DeserTBoB > > "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    
(back) Subject: Re: Severance Hall in Cleveland,Oh. From: <DudelK@aol.com> Date: Thu, 28 Dec 2000 21:06:32 EST   or check out the January issue of TAO, which arrived in today's mail.   DudelK Washington, DC  
(back) Subject: Re: The Authentic Tracker organ From: <Cremona502@cs.com> Date: Thu, 28 Dec 2000 21:53:56 EST   In a message dated 12/28/00 11:18:11 PM !!!First Boot!!!, = RonSeverin@aol.com writes:   << Having said all this, what would I prefer playing on? The answer is = simple, the most modern, and most advanced form of the instrument built today. >>   A copy your note has been forwarded to Macungie PA!!! Enjoy! (urp!)   Bruce ~ Cremona502@cs.com with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" Visit Howling Acres at Ourworld.cs.com/Brucon502