PipeChat Digest #1362 - Tuesday, April 25, 2000
 
Re: Design Improvements on the small theatre organ
  by "ldpatte@attglobal.net" <ldpatte@attglobal.net>
Fast Easter Exit
  by "Robert Clooney" <basset3@warwick.net>
Re: Fast Easter Exit
  by <Innkawgneeto@webtv.net>
Re: cross-church audience building (was Detroit recital)
  by "Tim Bovard" <tmbovard@arkansas.net>
Estey Toes -- Thanks!
  by "William T. Van Pelt" <bill@organsociety.org>
Re: Fast Easter Exit
  by "M Collins" <mcoll@panix.com>
RE: Fast Easter Exit
  by "Storandt, Peter" <pstorandt@okcu.edu>
Re: DesertBob doesn't buy the Design Improvements
  by "Dave G." <dave_hat@hotmail.com>
New church in Raritan / Perth Amboy-Driscoll Bridge area?
  by "Mr. Jan S. VanDerStad" <dcob@nac.net>
Re: Dave C.'s commnets on Design Improvements
  by "Dave G." <dave_hat@hotmail.com>
Re: one other Design Improvement note
  by "Dave G." <dave_hat@hotmail.com>
Other stuff and Concert Announcement (X-Post)
  by <kevin1@alaweb.com>
Re: DesertBob doesn't buy the Design Improvements
  by "Bob Scarborough" <desertbob@rglobal.net>
Re: Attn. Theatre Organ People - reply
  by <RMaryman@aol.com>
Re: Kinura origins, was DesertBob doesn't buy the Design	Improvements
  by <RMaryman@aol.com>
Re: Fast Easter Exit
  by "Maynard Cuppy" <cuppy.maynard@mcleodusa.net>
William Harris music inquiry
  by <Pepehomer@aol.com>
Re: Kinura origins, was DesertBob doesn't buy the  DesignImprovements
  by "Bob Scarborough" <desertbob@rglobal.net>
Re: William Harris music inquiry
  by <flcg1018@mails.fju.edu.tw>
Re: organs in schools
  by <Cremona502@cs.com>
Re: Fast Easter Exit
  by "Jim" <Bald1@prodigy.net>
Re: cross-church audience building (was Detroit recital)
  by <Cremona502@cs.com>
Do I Smell A Rat???
  by "Tim Bovard" <tmbovard@arkansas.net>
 


(back) Subject: Re: Design Improvements on the small theatre organ From: "ldpatte@attglobal.net" <ldpatte@attglobal.net> Date: Mon, 24 Apr 2000 08:45:33 -0400   To "Dave G."<dave hat@hotmail.com>   Dave,   You want to build this theatre organ, but it appears you want to apply classical standards to it. You don't want trems. You don't want real reeds. You don't want expression. You don't want mutations from unified ranks. All for credible reasons if we were talking about a classical instrument here, but you say you want a theatre organ!?? You want to test it out with Bach. Not that one couldn't play Bach on a theatre organ, but that was not their main reason for existence. The only thing, that I can see, that resembles a theatre organ here is the unification of ranks. Besides, what's a theatre organ without a vox?   Dave C. London, Ont.      
(back) Subject: Fast Easter Exit From: "Robert Clooney" <basset3@warwick.net> Date: Mon, 24 Apr 2000 08:39:53 -0400   Scenario:   Benediction - Putting coats on in the pews   Seven-Fold Amen Choral Response - Standing up, shuffling to get out of the pews, gathering up bulletins, talking   Postlude - running to strip the altar of "their" lillies; "Hey, could you lower it a little, my husband is trying to tell me which lillie he wants me to take and I can't hear him." So much for festal postlude. When I finished and looked up, the church was empty and the altar bare.   Happy Easter. ... Robert Clooney  
(back) Subject: Re: Fast Easter Exit From: <Innkawgneeto@webtv.net> Date: Mon, 24 Apr 2000 10:24:43 -0400 (EDT)   Robert, I sympathize with you. The scenario you describe happened here in Easters past, but lo and behold!, the folks waited until I was done playing this year.   >>So much for festal postlude. When I finished and looked up, the church was empty and the altar bare.<<    
(back) Subject: Re: cross-church audience building (was Detroit recital) From: "Tim Bovard" <tmbovard@arkansas.net> Date: Mon, 24 Apr 2000 09:44:21 -0500   At 4/24/00 12:28 AM, Bruce writes: >I did not indicate a vast number, I said many (not how many), and I = would >that, more often than not, that (generally) people are more likely to go = to >an organ recital at their own church (probably to support the activity). <schnip> > Geez! You make me sound like a doomsayer. I'm a recitalist and work = hard >to increase my audience. I have never indicated that attendance problems =   >cannot be overcome.   Hello, Bruce --   I'm sorry if I somehow misunderstood your comments...but that's just the way it sounded when I read it. (true -- you didn't specify exactly what 'numbers' you were speaking of...)   Honestly, though, you still sorta seem to be implying a larger number of folks that won't cross a church boundary than what has ever been my experience (and, it's true that *I* am not a recitalist -- I'm just an organbuilder...but my position does find me observing recital situations = in many different situations in many different churches, on a regular basis).   And, as far as the example I chose -- perhaps it isn't a 'typical' situation (is there really such a thing?) but...there *was* a 'whole = church full o' people' in a *very different* church than that in which they are usually found...<g>...and I'd still hope to get them there again in the = future.   Now, Bruce, may we hear about some of your successful strategies to build audiences?? (from wherever!) That's what I was hoping for by relating the story in the first place...!   All Best --   Tim    
(back) Subject: Estey Toes -- Thanks! From: "William T. Van Pelt" <bill@organsociety.org> Date: Mon, 24 Apr 2000 11:32:41 -0400   Dear List,   Thanks to all of those who have responded to yesterday's plea for the patent information printed on Estey pipe toes. Several responded with = just the information required to confirm that Estey was using the pipe toes patented in 1898, 1907, and 1929 (posthumously) by Fenelon McCollum who = was associated with a firm that supplied organ parts. Founded in 1841 as McCollum Brothers in Hartford, Connecticut, the firm was succeeded in 1871 by the Mansfield Organ Company of Mansfield Depot, Connecticut.   Many builders used these toes. I had mistakenly thought that Estey or Haskell had a patent on a similar device that we had somehow missed in the patent records. But, no, that is not the case. Thanks for helping to confirm this.   Bill  
(back) Subject: Re: Fast Easter Exit From: "M Collins" <mcoll@panix.com> Date: Mon, 24 Apr 2000 13:24:15 -0400 (EDT)       And at Holy Apostles in NYC, they all sat back down while David Hurd played the postlude, then applauded!   --- MJC     On Mon, 24 Apr 2000 Innkawgneeto@webtv.net wrote: > Robert, I sympathize with you. The scenario you describe happened here > in Easters past, but lo and behold!, the folks waited until I was done > playing this year. > >>So much for festal postlude. When I finished and looked up, the church > was empty and the altar bare.<<      
(back) Subject: RE: Fast Easter Exit From: "Storandt, Peter" <pstorandt@okcu.edu> Date: Mon, 24 Apr 2000 12:23:17 -0500   That was our experience at St. Paul's Cathedral, Oklahoma City, as well. = No more than a handful of people left during the postlude (Purcell: Sinfonia for organ and two trumpets).   Peter   -----Original Message----- From: M Collins [mailto:mcoll@panix.com] Sent: Monday, April 24, 2000 12:24 PM To: PipeChat Subject: Re: Fast Easter Exit         And at Holy Apostles in NYC, they all sat back down while David Hurd played the postlude, then applauded!   --- MJC     On Mon, 24 Apr 2000 Innkawgneeto@webtv.net wrote: > Robert, I sympathize with you. The scenario you describe happened here > in Easters past, but lo and behold!, the folks waited until I was done > playing this year. > >>So much for festal postlude. When I finished and looked up, the church > was empty and the altar bare.<<       "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: DesertBob doesn't buy the Design Improvements From: "Dave G." <dave_hat@hotmail.com> Date: Mon, 24 Apr 2000 13:06:45 PDT     Hi Bob,   >The use of equal-tempered "mutated mutations" was part and parcel of >Hope-Jones' unification scheme, his thinking being that the pitches >were >"close enough".   Hope-Jones, for all his genius was an engineer without a whole lot of musical experience. He ignored Audsley's advice not to have _any_ unification. Unification at the octave is questionable for contrapuntal music, but probably OK here.   Don't forget also that Hope-Jones was part of the movement toward equal temperament as "good enough". The 19th century was firmly in the grip of the equal-terperament mania. Only now with the desire to seek out true harmony and the work of such groups as the Just Intonation Network are we starting to see a paradigm shift.   But I digress....   >peculiar sound that the Hammond has   I don't like the hammond sound; would never play such a thing.   >Try some of GW's (or others') pungent, mutation-laden solo >registrations =   >on >a "straight" organ with real mutations...ain't gonna work. I fooled > >around >with various registrations and played the appropriate music on >straight >organs, just to hear what the effect would be. It doesn't work.   I've never heard these pieces; you might be right on this.   >"mutated mutations" make up part of the tonal package of the "unit >orchestra", as does the almost harmonic-free Tibia Clausa   The tibia clausa is a beautiful thing.   >, the off-the-wall >Kinura noisemaker,   I wouldn't call it off the wall -- organs have had funny reeds like that = for a long time. I would guess it is intended as an exaggeration of the = wah-wah muted trumpet sound that was popular in those days.   >the blatty Post Horn, and the thundering Diaphones.   Both are important and wonderful stops.   >Just what are you trying to build here??   Maybe calling it a theater organ was a mistake. This is the broad outline =   for an instrument I call the "Millennium2000 600 *Special* Organ" It is = an instrument for the New Millennium that incorporates theater and classical organ style but transcends both categories. A Hegelian synthesis if you will. For sure if it were larger it would include many more orthodox theater organ features.   Dave   PS: For even smaller venues you can replace the Gemshorn 8,4,2 with a Gedackt 8,4,2   ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com    
(back) Subject: New church in Raritan / Perth Amboy-Driscoll Bridge area? From: "Mr. Jan S. VanDerStad" <dcob@nac.net> Date: Mon, 24 Apr 2000 16:13:44 -0400   Good Afternoon...   I was wondering if anyone on these lists was familiar with a new church in sight of NJ's Garden State Parkway as you approach the Alfred Driscoll (sp?) bridge traveling south.   I know this could be off topic, depending on how you look at it, but I was wondering about the possibility of a new organ being installed in the aforementioned place of worship.   Thanks in advance,   Jan S. VanDerStad    
(back) Subject: Re: Dave C.'s commnets on Design Improvements From: "Dave G." <dave_hat@hotmail.com> Date: Mon, 24 Apr 2000 13:17:02 PDT   Dave,   >You want to build this theatre organ, but it appears you want to >apply >classical standards to it.   Well like I said before, something that's a pleasant hybrid.   >You don't want trems.   With 6 ranks I would add trem. (I promise)   >You don't want real reeds.   Because they go out of tune with everything else. (I know it's the flue pipes really) Remember the goal here: cheap and easy to build, easy to maintain, all off the shelf parts, easy to listen to, no risk of tongues getting loose and rattling around in there.   Believe me, when you guys hear the reedless reeds I am hoping to develop you will be stunned with delight!!!!!!!   >You don't want expression.   With 4 or 5 ranks I would put in expression! (I promise)   But we still haven't resolved the issue of what material will make good swell shades while still being trnasparent to reveal the beautifully polished wood pipes used throughout!   >You don't want mutations from >unified ranks.   See above. :-)   >want to test it out with Bach.   Along with all the other stuff. Can you imagine Canaro or some of the = other tango masters played on a Silbermann? ha ha.   >Besides, what's a theatre organ without a vox?   That's true! If I could add one more rank here it would be a vox, albeit a reedless one. (Hopefully I'll get one of those working soon = too!)   DG     ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com    
(back) Subject: Re: one other Design Improvement note From: "Dave G." <dave_hat@hotmail.com> Date: Mon, 24 Apr 2000 13:18:36 PDT     Also would seriously consider Villotti temperament for my "Millennium2000 600 *Special* Organ"   DG   ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com    
(back) Subject: Other stuff and Concert Announcement (X-Post) From: <kevin1@alaweb.com> Date: Mon, 24 Apr 2000 15:06:20 -600   Hey everyone! It's Kevin C., that 17 y/o pest. I'm having my senior organ concert on my "baby", the 2/19 Wicks at the First United Methodist Church in Greenville, Alabama, on Sunday, May 7 at 2:00 pm. Everyone is invited, no admission or anything. If you e-mail me about this, send mail to woohoo99@hotmail.com I'm about to close down this e-mail account as soon as I transfer my list subscriptions to the Hotmail account. I can send a copy of my flyer via e-mail if anyone would like to see it. It has a picture of me and a picture of the church and Wicks on it. Please don't ask for recordings or program copies. If anyone new to this list would like to see my residence organ, also a Wicks, visit www.theatreorgans.com/alabama/greenville for a summary of my project.   I am pleased to announce that I have recently been awarded two scholarships to the University of South Alabama in Mobile, Alabama. While the primary scholarship is for organ and keyboarding, I also recieved a scholarship for tuba. My concert marks my last major public performance in Greenville, Alabama before I move to college in Mobile. I will be leaving behind my weekly organist position at St. Elizabeth Catholic Church (2m Baldwin) and two substitute positions, one at the church of my concert, another at St. Thomas Episcopal Church (2/6 M=F6ller), and an unofficial secondary pianist position at the New Hope Metropolitan Community Church in Montgomery, AL.   One more thing, if anyone is familiar with Baldwin Orgasonics (theatre models), please mail me at woohoo99@hotmail.com. I can't figure out why my tibia generator isn't working. Here's the nature of the problem: I flip any tibia or flute stop on the solo or acc and nothing happens. (That's all I know.) The reed/string stuff works and the pedal stuff works just fine. It's a cute little organ; I got it for free. It needs some finish work on one end where it had a mishap involving a crane and the edge of the church balcony when the new organ was being installed (it's a long story). What currently works in it seems to fill my greatroom with sound fairly well.   I hope all is well with everyone. Remember, reply to woohoo99@hotmail.com !! -Kevin Cartwright Greenville, Alabama woohoo99@hotmail.com www.theatreorgans.com/alabama/greenville (Warning; pic in homepage was BEFORE I lost about 70 pounds!)    
(back) Subject: Re: DesertBob doesn't buy the Design Improvements From: "Bob Scarborough" <desertbob@rglobal.net> Date: Mon, 24 Apr 2000 15:08:44   At 01:06 PM 4/24/2000 PDT, you wrote: >Hope-Jones, for all his genius was an engineer without a whole lot >of musical experience.<snip>   Actually, he was a somewhat OK organist in his own right.   >He ignored Audsley's advice not to have _any_ >unification. Unification at the octave is questionable for contrapuntal >music, but probably OK here. > >Don't forget also that Hope-Jones was part of the movement toward equal >temperament as "good enough". The 19th century was firmly in the grip of =   >the equal-terperament mania.<snip>   Sorry, but ET is here to stay, except for "period" instruments. Using meantone, the various Werkmeisters, whatever, limits an instrument to the Baroque and Classic ages. >starting to see a paradigm shift.<snip>   How corporate.   >>peculiar sound that the Hammond has   >I don't like the hammond sound; would never play such a thing.   Like it or not, the Hammond became one of the most popular musical instruments of this century. Interestingly enough, it's not "equal tempered", either!   >>"mutated mutations" make up part of the tonal package of the "unit >>orchestra", as does the almost harmonic-free Tibia Clausa > >The tibia clausa is a beautiful thing.   Minus the start and end transients, there's very little between a Tibia Clausa and an oscillator or tonewheel...honest!   >I wouldn't call it off the wall -- organs have had funny reeds like that = for >a long time. I would guess it is intended as an exaggeration of the = wah-wah >muted trumpet sound that was popular in those days.<snip>   Wrong. Here's the scoop on the Kinura. Some of Hope-Jones' guys were screwing around in the shop with a reed whose resonator had fallen off. They were putting various things over the opening to make it do different things, when Hope-Jones walked in while it had a funnel on it. Hope-Jones stole the idea and called the Kinura.   >>the blatty Post Horn, and the thundering Diaphones. > >Both are important and wonderful stops.<snip>   For TO, yes....for classic, no. Post Horns are a "solo only" stop due to their extreme emphasis of high-end partials, and Diaphones are suited only for the pedal, the fundamental being too strong to promote good blend.   >Maybe calling it a theater organ was a mistake. This is the broad = outline >for an instrument I call the "Millennium2000 600 *Special* Organ" It is = an >instrument for the New Millennium that incorporates theater and classical =   >organ style but transcends both categories. A Hegelian synthesis if you >will. For sure if it were larger it would include many more orthodox >theater organ features.<snip>   Yikes!   dB  
(back) Subject: Re: Attn. Theatre Organ People - reply From: <RMaryman@aol.com> Date: Mon, 24 Apr 2000 18:25:31 EDT   In a message dated 00-04-23 23:17:12 EDT, you write:   << Does anyone know whether there was an organ in The tivoli and if it is still there? Evie >> There was a theatre organ in the Tivoli theatre. It was a WurliTzer, of = 3man and 13 ranks (if memory serves correct, altho it might have been a smaller =   2/8 Wurlitzer.) IF my memory is correct, the organ was removed some time back and was incorporated into the organ at Dick Kline's residense in THurmont MD, = along with another Wurli from somewhere in Pennsylvania.   Rick Maryman Staunton VA  
(back) Subject: Re: Kinura origins, was DesertBob doesn't buy the Design Improvements From: <RMaryman@aol.com> Date: Mon, 24 Apr 2000 18:36:11 EDT   In a message dated 00-04-24 18:13:52 EDT, you write:   << Wrong. Here's the scoop on the Kinura. Some of Hope-Jones' guys were screwing around in the shop with a reed whose resonator had fallen off. They were putting various things over the opening to make it do different things, when Hope-Jones walked in while it had a funnel on it. = Hope-Jones stole the idea and called the Kinura. >> not to create doubt in the owrd of another organ person, but this story sounds a bit unlikely, since the kinura (can you say trichter-regaal?) requires a very long thin opening in the shallot, a duck-bill tip on the shallot (or a very sharply angled bottom-plate to the shallot), and the tongue itself needs a LOT of tip curve to produce the "snap" attack characteristic of Kinuras. SO.... what would they have had...the closest = reed with these characteristics would be an English post horn (not to be = confused with the Cor Anglais) . Inquiring minds would be interested to know.   Rick Maryman Staunton VA  
(back) Subject: Re: Fast Easter Exit From: "Maynard Cuppy" <cuppy.maynard@mcleodusa.net> Date: Mon, 24 Apr 2000 17:38:58 -0500   Don't feel bad. 2000 years ago they stripped Christ of his garments. You only lost your lillies. :) Maynard   Robert Clooney wrote:   > Scenario: > > Benediction - Putting coats on in the pews > > Seven-Fold Amen Choral Response - Standing up, shuffling to get out of > the pews, gathering up bulletins, talking > > Postlude - running to strip the altar of "their" lillies; "Hey, could > you lower it a little, my husband is trying to tell me which lillie he > wants me to take and I can't hear him." So much for festal postlude. > When I finished and looked up, the church was empty and the altar bare. > > Happy Easter. ... Robert Clooney > > "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: William Harris music inquiry From: <Pepehomer@aol.com> Date: Mon, 24 Apr 2000 19:51:38 EDT   Hello all - I am again looking for the Prelude by William Harris that = was played at the funeral of Princess Di. I found one version of it in a compilation "Second Easy Organ Works" (something like that) but it's only about a minute long. Did the funeral organist improv for 7 more minutes, = or was this published somewhere else? Any help would be greatly appreciated!   Justin Karch Organist, Holy Trinity LCMS Rome, GA  
(back) Subject: Re: Kinura origins, was DesertBob doesn't buy the DesignImprovements From: "Bob Scarborough" <desertbob@rglobal.net> Date: Mon, 24 Apr 2000 16:53:16   At 06:36 PM 4/24/2000 EDT, you wrote: >not to create doubt in the owrd of another organ person, but this story >sounds a bit unlikely<snip>   Guess again.   >Inquiring minds would be interested to know.<snip>   The kinura story has been related in no less that three authoritative = works on Hope-Jones. See "Robert Hope-Jones", by David H. Fox for one = recounting of the tale. I'll dig around for the other references. Hope-Jones being somewhat solo stop happy, I wouldn't doubt for a second that the resonator fell off of a Post Horn or some other oddball.   DeserTBoB  
(back) Subject: Re: William Harris music inquiry From: <flcg1018@mails.fju.edu.tw> Date: Tue, 25 Apr 2000 10:01:47 +0800 (CST)   That is it... you have found it.... the rest of the piece (as confirmed by e-mail from the organist himself) was an improvisation... I encouraged him to publish the improvisation part... maybe he will if enough people ask...     Morton Belcher   On Mon, 24 Apr 2000 Pepehomer@aol.com wrote:   > Hello all - I am again looking for the Prelude by William Harris = that was > played at the funeral of Princess Di. I found one version of it in a > compilation "Second Easy Organ Works" (something like that) but it's = only > about a minute long. Did the funeral organist improv for 7 more = minutes, or > was this published somewhere else? > Any help would be greatly appreciated! > > Justin Karch > Organist, Holy Trinity LCMS > Rome, GA >  
(back) Subject: Re: organs in schools From: <Cremona502@cs.com> Date: Mon, 24 Apr 2000 22:14:56 EDT   In a message dated 4/23/00 11:20:37 PM Eastern Daylight Time, ray_ahrens@hotmail.com writes:   << Gee, let's think about this one. As teachers are notoriously = underpaid, I'd rather spend the money on their salaries than on an organ. >>   Oops..... no can do. Salaries and equipment are from different line = items in the budget. Teachers MUST remain underpaid to assure their dedication =   (uh huh, uh huh!!) ;-)   Bruce .. . . .in the Beagles' Nest with the Baskerbeagles Molly, Duncan, and Miles Cremona502@cs.com http://ourworld.cs.com/Brucon502  
(back) Subject: Re: Fast Easter Exit From: "Jim" <Bald1@prodigy.net> Date: Sat, 22 Apr 2000 18:05:36 -0500   It is sad, but unfortunately this attitude is exactly that which is being accepted as okay in the modern church. The prelude is just bad.   I stopped playing a prelude on Maundy Thursday because the noise from the talking in the narthex was drowning out the antiphonal organ, some 100 = feet to the front. After the service, no one asked why there was no prelude.   But, on the bright side, I did get positive comments about Good Friday's service as well as both Easter services.   Maybe there is hope yet   Jim ----- Original Message ----- From: Robert Clooney <basset3@warwick.net> To: <pipechat@pipechat.org> Sent: Monday, April 24, 2000 7:39 AM Subject: Fast Easter Exit     > Scenario: > > Benediction - Putting coats on in the pews > Big Snip > > Happy Easter. ... Robert Clooney > > "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: cross-church audience building (was Detroit recital) From: <Cremona502@cs.com> Date: Mon, 24 Apr 2000 22:53:06 EDT   In a message dated 4/24/00 10:43:11 AM Eastern Daylight Time, tmbovard@arkansas.net writes:   << ow, Bruce, may we hear about some of your successful strategies to = build audiences?? (from wherever!) That's what I was hoping for by relating = the story in the first place...! >>   Unfortunately, the most successful strategy I've found is PAID ads in the paper. The work wonders. but, lots 'o dough!   I've always wanted to try a wine and cheese buffet, but haven't found a church that will let us eat in the nave. When I was at UHouston, for = organ class we would set up a table in the front of the chapel (where everyone = sat) and put a platter of Subway sandwiches and other goodies out. THen we = would eat and listen and eat and listen..... it was great.   Bruce .. . . .in the Beagles' Nest with the Baskerbeagles Molly, Duncan, and Miles Cremona502@cs.com http://ourworld.cs.com/Brucon502  
(back) Subject: Do I Smell A Rat??? From: "Tim Bovard" <tmbovard@arkansas.net> Date: Tue, 25 Apr 2000 00:34:02 -0500   Greetings, Friends!   In the last few weeks (not quite starting Apr. 1, but not too far removed either...), we've all been hearing the stories of "Dave G" and his "plan" to build a 4man/3rk/unequally tempered/tracker/"Theatre Organ". No expression, no pedal, no trem, and all-wood pipes under 4' in length. Ohh -- also 30 general pistons. (now, as of today, he's named it the "Millenium Whiz-Bang 6000", or some such goofiness.) He intends this "instrument" to play Bach, and Tom Petty. We also hear his claims to be "researching multi-ranked mounted cornets"..."designing reedless reeds"...yada yada. Yet this is also a "person" that refers to pipe = tuning devices as "thingies"....   At first, I was willing to chalk this all up to someone that simply = *needs* a great deal of education. (This list would indeed be a great place for such a person to start to gain some good knowledge.) However, as the stories keep coming -- getting even more ludicrous with each successive = one -- I'm smelling something *very fishy* going on here...it was perhaps amusing at first -- but is now pushing the limits of ridiculousness.   I also notice that "Dave G" comes to us via an anonymous Hotmail email account...   Anyone else thinking that there's somebody out there "yanking our collective chains"???   "Dave G" -- if you *are* actually a real person -- I'd strongly suggest that you seek out copies of the Audsley "The Art of Organ-Building" as = well as the Junchen "Encyclopedia of the American Theatre Organ" (for = starters). Read them all cover to cover, then read them *again*. Perhaps then you will also start to see the utter nonsense of some of your "plans".   This post is in no way intended to offend anyone (especially "Dave G", if you *are* real), but at this point in time I am having *serious* doubts about all this, and I'd bet I'm not alone. If I have managed to cause offense in some manner, please accept my heartfelt apology.   Most sincerely,   Tim Bovard Little Rock AR