PipeChat Digest #1924 - Sunday, March 18, 2001 Re: Toronto II by <ALamirande@aol.com> Re: Small organs: One chamber enclosure? Two chamber enclosure? by <Cremona502@cs.com> Pieces to Practice While Twiddling my Thumbs? by "Cindy Adams" <email@example.com> Websites by "Cindy Adams" <firstname.lastname@example.org> Re: Swell Boxes and Expression: by <Bobmac36@aol.com> Websites by "mike" <email@example.com> Re: PipeChat Digest #1913 - 03/17/01 by <StatRussell@aol.com> Re: PipeChat Digest #1915 - 03/17/01 by <StatRussell@aol.com> Re: PipeChat Digest #1916 - 03/17/01 by <StatRussell@aol.com> Re: Small organs: One chamber enclosure? Two chamber enclosure? by "John L. Speller" <firstname.lastname@example.org> Swell Boxes and Frequency Dependant Attenuation by "Bob Scarborough" <email@example.com> Re: Websites with sound by "Jenny Setchell" <firstname.lastname@example.org>
(back) Subject: Re: Toronto II From: <ALamirande@aol.com> Date: Sun, 18 Mar 2001 14:29:04 EST Hell again from Toronto. The weather has done a volte-face, and today = it's brilliant sunshine, with not a cloud to be seen. Great day for their St. Patrick's Day Parade (held in Toronto on a Sunday, thus one day late). Well, I went to church TWICE today. Perhaps that will compensate for all those many times I've stayed home on Sundays in New York. First, I attended the German-language Mass at St. Patrick's Church (now a German parish!). Unfortunately, the Chinese organist (Mark Huang) wasn't playing for that Mass, but I left my CD with the priest to give to him. The organist who did play did so in very subdued and minimal fashion, = simply accompanying the choir note for note. All of the music was completely unfamiliar. Some simple but lovely hymns and simple but lovely settings of the = Ordinary of the Mass. The choir (conducted by a lady director) sang valiantly, = shall we say. The congregation was completely silent throughout, except for the = Kyrie and the responses to the Sursum Corda and Acclamation of Faith. The = celebrant --- who spoke excellent German, although a native Canadian --- = sang the Sursum Corda to the original Gregorian chant, and did so very well. = The congregation was mainly middle-aged or elderly. The organ is a Casavant, = of modest dimensions; I did not have time to look at it, and could not judge = its characteristics, from the minimalist way in which it was played by the anonymous organist. I couldn't stay there for the 12 noon English Mass, because I wanted to go = to St. Michael's Cathedral to hear their celebrated choir. And the choir of = men and boys was very fine, indeed: it compares very favorably to Les Petits Chanteurs du Mont Royal at l'Oratoire St. Joseph in Montreal. Alas, the acoustics at Toronto's cathedral are no match for those of the Oratory. Another sad feature of this cathedral is that the organ loft was condemned = by the city's building inspectors several years ago; and so the organ cannot = be used. It is completely enveloped in plastic sheeting. And so, they are using a electronic substitute, located up in the front. This was played by a young Chinese organist (although I assume he is Canadian-born). He played very well indeed. The (electronic) organ is = used only to accompany hymns and the choir, during the season of Lent; but I = could see that he was quite accomplished --- and he is, obviously, still a teenager! He ran out before I could get his name, so I gave another copy = of my CD to an usher to convey to him. The choir sang the Kyrie and Agnus Dei from the Missa Octavi Toni by = Lassus, a capella; "He Watching over Israel" by Mendelssohn for the Offertory; and = "Ubi Caritas" by Durufle' for the Communion. Hymns were sung for the Procession, post-communion, and Recessional: they were all well-chosen = hymns pertinent to the Lenten season. they used a contemporary setting for the Sanctus, which I have not heard in the U.S.: the congregation joined in = the singing of this, and also the various responses. In all, the music was = far superior to what I hear in the typical American Catholic churches. (No = Marty Haugen in sight or hearing!) Incidentally, the choir contains a large contingent of Chinese members. they go to a full-time school: the St. Michael's Choir School, located across the street from the cathedral. the Mass was celebrated by the Archbishop of Toronto, Cardinal Aloysius Ambrozic. the cathedral, built in the 1840s, is Victorian Gothic, and obviously in = need of repairs. (Some of the ceiling frescoes are peeling!) It is of more historic than architectural interest. Yesterday, I also had occasion to enter the main Protestant church in downtown Toronto, the Metropolitan United Church (once called the = Methodist Cathedral!). the room was empty, but the organist was practicing (Pachelbel). Her name is Dr. Patrician Wright, and she plays very well. = I spoke with her for a few minutes: she was very cordial. Gave her a copy = of my CD. (Now, I've run out of copies, insofar as Toronto is concerned!) She mentioned that there will be an organ festival (RCCO) in Toronto from July = 9th to 13th. The organ is a large Casavant, and sounds splendid, albeit = that the acoustics are very dry. Dr. Wright did not know that there was a German Mass at St. Patrick's = Church on Sunday mornings. She said "they" (the RCCO) "never go there"! Yesterday, I also went to take a look at St. Paul's Anglican Church. Just = as during my previous visits to Toronto (1962 and 1969), the place was locked = up tight; so I did not get to see the interior. It is, however, a very large = church --- especially by Anglican standards. However, that gentleman in Ontario who opined, a few years ago on that other organ website, that it = is the largest church in Canada is mistaken. In terms of size, it is comparable to the Church of St. Jean-Baptiste in Montreal. Large indeed, but not the largest in Canada. (That honour still goes to l'Oratoire St. Joseph in Montreal.) Maybe I'll take another look this afternoon, to see if it's open. The Anglican cathedral (St. James) was also locked up tight yesterday. Actually, I wonder why St. Paul's isn't the Anglican cathedral --- since = it is much larger than St. James. there are loads of other churches in Toronto --- few of which are of much architectural interest. I saw one Lutheran church which has services exclusively in Estonian and Latvian. Estonian on the first, second, and fifth Sundays of the month; Latvian on the second and fourth Sundays! (Incidentally, for those of you who don't know: these two languages are completely unrelated. Just that the two countries are geographically proximate.) As for the CN tower: I'm debating whether to go up or not. I've gone up = the Space Needle in Seattle and its counterpart in Vancouver; so this ride shouldn't be all that bad. I'll skip the area with the glass floor, = however! As for eating: I found a superb Chinese restaurant in Chinatown: it's = called Champion House. My personal recommendation. I hope, Mr. Moderator, that this message has nothing attached to it, from previous contributions. I don't see any. Arthur LaMirande
(back) Subject: Re: Small organs: One chamber enclosure? Two chamber enclosure? From: <Cremona502@cs.com> Date: Sun, 18 Mar 2001 14:29:19 EST --part1_d4.3c79d0b.27e6668f_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit In a message dated 3/18/01 7:13:12 PM !!!First Boot!!!, email@example.com writes: > : > > Sounds great for a TO installation, but might be a bit liturgically > distracting in a church. The congregation would be watching the pipe > chambers instead of concentrating on the words in the hymnal. > > You could always change the light colors to coincide with the liturgical seasons! Or, even use camera shots of the pipework as background on the screen showing the song texts. Your service could be called the Hour of Powerpoint! ;-) Bruce ~ Cremona502@cs.com with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" Visit Howling Acres at http://members.tripod.com/Brucon502/ --part1_d4.3c79d0b.27e6668f_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit <HTML><FONT FACE=3Darial,helvetica><FONT SIZE=3D2>In a message dated = 3/18/01 7:13:12 PM !!!First Boot!!!, <BR>firstname.lastname@example.org writes: <BR> <BR> <BR><BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">: <BR> <BR> Sounds great for a TO installation, but might be a = bit liturgically <BR>distracting in a church. The congregation would be watching the pipe <BR>chambers instead of concentrating on the words in the hymnal. <BR> <BR> </FONT><FONT COLOR=3D"#000000" SIZE=3D3 = FAMILY=3D"SANSSERIF" FACE=3D"Arial" LANG=3D"0"></BLOCKQUOTE> <BR></FONT><FONT COLOR=3D"#000000" SIZE=3D2 FAMILY=3D"SANSSERIF" = FACE=3D"Arial" LANG=3D"0"> <BR>You could always change the light colors to coincide with the = liturgical <BR>seasons! Or, even use camera shots of the pipework as background = on the <BR>screen showing the song texts. <BR> <BR>Your service could be called the Hour of Powerpoint! ;-) <BR> <BR>Bruce ~ Cremona502@cs.com <BR>with the Baskerbeagles in the Beagle's Nest ~ ""Haruffaroo, Bohawow!" <BR>Visit Howling Acres at = http://members.tripod.com/Brucon502/</FONT></HTML> --part1_d4.3c79d0b.27e6668f_boundary--
(back) Subject: Pieces to Practice While Twiddling my Thumbs? From: "Cindy Adams" <email@example.com> Date: Sun, 18 Mar 2001 11:38:19 -0800 (PST) Hi- While impatiently waiting for my next organ lesson,(and during the time I am taking lessons) what helpful things could I be practicing on the piano to help with organ technic? (I'm keeping in mind the touch is different) Someone told me Bach Fugues. Any other composer or works that would help me prepare? I practice a lot of piano and I might as well be doing something that will help me later. --- Paul Valtos <firstname.lastname@example.org> wrote: > Geez,, sort of reminds you of our congress now. Paul > ----- Original Message ----- > From: "Bob Scarborough" <email@example.com> > To: "PipeChat" <firstname.lastname@example.org> > Sent: Saturday, March 17, 2001 7:47 PM > Subject: OT: Wicked GM, General Tire and Standard > Oil > > > > At 05:36 PM 3/17/2001 -0600, you wrote: > > The Bay area got rid the Key System only to spend > millions re-inventing it > > with BART which operates over most of the old Key > System routes....LA got > > rid of the Pacific Electric and has spent millions > to re-invent the Long > > Beach Line and has several others they're trying > to fund.<snip> > > > > Obviously you don't know about the collusion > between GM executives and > > puppet companies, like Pacific Coach Lines, > controlled by GM, that > > decimated the PE and Key System lines in the > 1950s. GM was found guilty > of > > this in Los Angeles County Superior Court in 1958, > and paid a $5,000 > > fine...their reward for applying millions worth of > financial "grease" to > > various politicians in LA county. To GM, this was > just a cost of doing > > business, that being, sell uncomfortable, slow, > smelly buses, and thence, > > sell more cars. A quick look at the LA Times, SF > Chronicle and other > > archives document the story well. > > > > Of course, all the trolley and interurban lines > were replaced the GM > > coaches, riding on General Tires, burning Standard > Oil of California > diesel > > fuel. These were found to be the three main > co-conspirators in both court > > cases. After the PE and Key System brouhahas, > SF's "Muni", seeing the > > political implications, refused to buy GM coaches > or burn Standard fuel > for > > years, opting instead to buy buses from Mack, a > rarity indeed. They also > > keep their "trackless trolleys" in service to this > day, as well as some > > restored PCC cars. The old Macks soldiered on > into the '70s. > > > > GM's unethical corporate behavior reached into > every sector of the US > > economy in the '50s and '60s, much to the personal > chagrin of its former > > president, Alfred P. Sloan. After the LA Pacific > Electric trial, Sloan > was > > quoted as saying, "I'm ashamed I was ever > associated with this > > company." Sloan, as well as "Boss" Kettering, who > in 1938 invented the > > wasteful 2 stroke diesel that powered GM coaches > into the '80s, gave most > > of their fortunes earned from GM away to > charities, including funding the > > Sloan-Kettering Research Clinic, a world leader in > cancer research. Guilt > > complex at work, perhaps? > > > > And now, back to our regularly scheduled piping > off. > > > > dB > > > > > > "Pipe Up and Be Heard!" > > PipeChat: A discussion List for pipe/digital > organs & related topics > > HOMEPAGE : http://www.pipechat.org > > List: mailto:email@example.com > > Administration: mailto:firstname.lastname@example.org > > Subscribe/Unsubscribe: > mailto:email@example.com > > > > > "Pipe Up and Be Heard!" > PipeChat: A discussion List for pipe/digital > organs & related topics > HOMEPAGE : http://www.pipechat.org > List: mailto:firstname.lastname@example.org > Administration: mailto:email@example.com > Subscribe/Unsubscribe: mailto:firstname.lastname@example.org > __________________________________________________ Do You Yahoo!? Get email at your own domain with Yahoo! Mail. http://personal.mail.yahoo.com/
(back) Subject: Websites From: "Cindy Adams" <email@example.com> Date: Sun, 18 Mar 2001 12:10:31 -0800 (PST) Do any of you have websites I can visit to listen organ selections? --- Chris Baker <firstname.lastname@example.org> wrote: > Bruce says: > > You will get advice on both sides of the fence, > but I have never had > any luck > > beginning a piece on the piano. If I'm going to > play it on the > organ, I > > learn it on the organ [snip] > > By the same token, when I'm going to play a piece > of music on the > piano, I > > learn it on the piano. The same goes for > anthems. I almost have > to learn > > each one twice, since I don't play them the same > way on the organ as > on the > > piano. > > > > But, it's really a personal preference of what > works best for you. > > Wise words as always Beaglemeister. > > I would however offer two circumstances where the > piano reigns supreme > in preparing pieces to be played on the organ. > The first is for the minute examination of > contrapuntal work. So > often on modern organs, and particularly (sadly) > with Bach's music, > players get carried away on a tide of expression > pedals, pistons, > programmed pre-sets, and stop changes that would > have utterly > mystified the Master. It can be very helpful to sit > down quietly and > remind oneself of just what the score is actually > saying. And the > piano's ability to allow highlighting of individual > parts on the same > stave, is a most excellent tool for doing this. > > The second major area of the piano's pre-eminence is > in the > preparation of choral music. I am referring > particularly to the > English cathedral tradition here, where almost > invariably, the music > program is rehearsed entirely from the piano. > Occasionally, there may > be a final rehearsal with the organ, but this > usually seems to be for > the benefit of the accompanist, rather than the > choir. > How this is viewed within the Americas, no doubt we > will shortly > discover :-) > > Cheers > Chris Baker > > > "Pipe Up and Be Heard!" > PipeChat: A discussion List for pipe/digital > organs & related topics > HOMEPAGE : http://www.pipechat.org > List: mailto:email@example.com > Administration: mailto:firstname.lastname@example.org > Subscribe/Unsubscribe: mailto:email@example.com > __________________________________________________ Do You Yahoo!? Get email at your own domain with Yahoo! Mail. http://personal.mail.yahoo.com/
(back) Subject: Re: Swell Boxes and Expression: From: <Bobmac36@aol.com> Date: Sun, 18 Mar 2001 15:17:40 EST All this business about an expressive Great (and other enclosed divisions) = is giving me something --- a headache? insomnia? other unmentionable = ailments! Would y'all please let it go!!! Wherever, whatever the instrument you're = playing, can't you make it do all the things it's designed to do - = including use of swell shutters? Can't you make it the best instrument you've ever played while you're making music on it? Can't you rise above the problems = and things you don't like about the instrument and then set your heart on making good music? Can't you be less rigid? The most gifted organists = are those who can be creative and use an organ and make it sound wonderful -- even when it isn't -- because they find the best in it and play it accordingly - even using all the swell boxes when they're available. Don't you find that printed registrations seldom fit the particular instrument you're playing at the time? I see them as an interesting assortment of suggestions from the composer (or editor) and try to come up = with similar registrations if possible. Then if I don't care for that particular sound, I try something else - sometimes using a totally = different registration. Who's gonna know? You're probably the only organist in = miles around. ;-) In the last 30 years I have been employed in three churches -- the first = has an organ of approximately 240 ranks with five enclosed divisions; second = had 150 ranks with five enclosed divisions, and the present one has 133 ranks with six enclosed divisions --- and this one has the Great, Choir and = Pedal in one large box. Ummmmmmmm. How delicious!!!! In fact, only 26 of the = 133 ranks are exposed - (Great Principal chorus of 9 ranks hanging on the = north chancel well, and 17 ranks of Positiv on the south chancel wall) and if I = had my druthers, I'd put them behind shutters as well. Who cares -- who's = gonna know that some of the harmonics may be slighted - or missing? I believe that organists should not be so picky-picky. Ours is to share our = gifts with the people in the pews (or seats) and give them all the = emotions we organists are capable of producing. Personally I don't care that = pipes in boxes may have lost some of their articulation due to shutters. It = could be worse - heavy carpet, drapes, ceilings covered with acoustic tiles - other sound-deadening conditions. I've lost some upper hearing anyway due = to all that loud crashing around when I open all the boxes (and then slam 'em = shut), but what a way to go!!!!!!! Play on. (Sorry to be so = long-winded. Now I've got it off my chest).
(back) Subject: Websites From: "mike" <firstname.lastname@example.org> Date: Sun, 18 Mar 2001 15:24:48 -0500 In a message dated 3/18/01 Cindy Adams wrote: Do any of you have websites I can visit to listen organ selections? Mike Gettelman suggests: MP3 .com has a ton of streaming and downloadable organ music.
(back) Subject: Re: PipeChat Digest #1913 - 03/17/01 From: <StatRussell@aol.com> Date: Sun, 18 Mar 2001 15:37:47 EST Josh, I cannot begin to tell you how happy I am for you. I think I speak for all of us when I say we're all hapy for you. = Obviously, you won't be able to get pipes but how about an Allen? (Just a = suggestion.) Good Luck Pal! Dennis Russell
(back) Subject: Re: PipeChat Digest #1915 - 03/17/01 From: <StatRussell@aol.com> Date: Sun, 18 Mar 2001 15:42:15 EST Dear Chris Baker, And to think, I was just about to send you an Oakland = Raiders jersey. Don't forget, "Real men wear Black" Also, weren't you = the guy who used to play baseball with my kid brother back in Detroit? Tongue stuck permanently to cheek Dennis Russell
(back) Subject: Re: PipeChat Digest #1916 - 03/17/01 From: <StatRussell@aol.com> Date: Sun, 18 Mar 2001 15:44:10 EST You know, as many times as I've seen this discussion, I think that we're = all developing a major foot fetish. Dennis
(back) Subject: Re: Small organs: One chamber enclosure? Two chamber enclosure? From: "John L. Speller" <email@example.com> Date: Sun, 18 Mar 2001 15:08:02 -0600 > In a message dated 3/18/01 1:11:07 PM !!!First Boot!!!, > firstname.lastname@example.org > writes: > >> What about flashing lights over the ranks being played? > All you need in fact to do is to give the console glass sides and then you can see the light emitting diodes of the solid state system operating! John Speller
(back) Subject: Swell Boxes and Frequency Dependant Attenuation From: "Bob Scarborough" <email@example.com> Date: Sun, 18 Mar 2001 13:18:20 -0800 At 08:42 AM 3/18/2001 -0500, you wrote: ><snip> but it was mentioned that the upper frequencies were severely >dampened when enclosed in swell boxes, even when the shutters were open.=20 ><snip> Has any research been done to actually objectively MEASURE the=20 >effect of swell boxes on upper frequency damping ? <snip> One only need know the physics involved in acoustic transmission to know=20 what happens here, but it WOULD be quite nice if some true measurement=20 using high frequency transducers and directional microphones were used to=20 quantify different designs, at least. Propagation of sounds waves in different directions, quantified as a vector= =20 as directivity (d in acoustic formul=E6) varies inveresly with frequency,=20 which is to say that the lowest audible frequencies are omnidirectional,=20 whereas the highest tend to "beam" in a single vector from the source=20 without side propagation. Saying that a "swell box absorbs all high=20 frequencies" is partially correct, but there are many other factors other=20 than the box structure itself in play here. It is also well known that low= =20 frequency waveforms "bend" quite easily, owing to their brute mechanical=20 power and long wavelength, whereas high frequencies are "fragile" and are=20 easily trapped and absorbed by reflecting surfaces. Organs of Bach's time were "shallow" in structure, and for a=20 reason. Builders knew (although not why) that making organs "deeper" would= =20 "muffle" the tone of pipe in the rear on a chest. We now know that this is= =20 caused by the deflecting of higher partials, both harmonic and inharmonic,= =20 that emit from a pipe's mouth by ranks placed in front of it. The more=20 ranks said partials have to travel through to the area they are to be=20 heard, the more they are reflected, re-reflected, and absorbed by=20 succeeding pipework and casework. The addition of a swell box made of=20 wood, an acoustically absorbent material even in hard species, adds yet=20 another surface with which the high frequency waveform has to contend. Add= =20 to this that the shorter wavelength of higher frequency waveforms lends it= =20 self to phase cancellation, and it's quite easy to see even by the=20 non-scientific person that "enclosure equals muffling". Further, in such a= =20 situation, the balance of high to low frequencies will be tilted towards=20 the lower. Since most of the total acoustic power is concentrated in the=20 low end of the spectrum of any broadband source, the real acoustic power of= =20 the instrument is roughly the same, if slightly lower, but the=20 "perception", caused by the non-linearity of the human ear, is that it is=20 less powerful. After the swell box had been around for awhile as a wooden box,=20 experimentation, notably by Hope-Jones, lead to extreme innovations, such=20 as his infamous deep stone or concrete swell "chambers", the output of=20 which was regulated by thick, groove shades. Hope-Jones' was on the right= =20 track inasfar as projecting low frequency power from huge flues and his new= =20 Diaphones, but anything place far back in such a chamber would indeed be=20 muffled. However, the box itself, lined in concrete, stone, or Keene's=20 cement, wasn't really the "muffler". It was the ranks and ranks of pipe=20 bodies standing in front of a particular rank that would reflect,=20 re-reflect and eventually cancel out the high frequency partials, being of= =20 comparatively absorbent material when compared to the chamber wall=20 finish. The proof of this is a certain Wurltizer, constructed to mostly=20 Hope-Jones principles, as The Mosque in Richmond, VA. This organ is placed= =20 in very shallow (compared to most theater organs) chambers and is decidedly= =20 bright and airy, despite its unification and proponderance of unison=20 tone. It's also interesting to note that this organ does have a higher=20 amount of high frequency information relayed to the listening area despite= =20 the normal thick and grooved Hope-Jones swell shades, which, in comparison= =20 to ranks and ranks of pipe bodies, isn't nearly as effective a high=20 frequency absorber when open. Another factor that remains to be tackled is that of proper voicing for=20 swell box applications. If one wants an expressive organ, one has to take= =20 into account what is going to happen to those pipes in the rear and voice=20 them accordingly. Higher wind, lower cutup and other voicing techniques=20 can compensate, but it should be remembered that, even if, say, the=20 fundamental and the eightn harmonic of a gamba were compensated for=20 reflective and absorptive losses, it still would not sound the same as if=20 it were "out in the open". This brings into play the question of "point=20 source" sound source versus scattered or distributed, expecially in the=20 upper part of the spectrum. After making a torturous journey though several ranks of pipes and swell=20 box walls, high frequency energy will enter the listening area from many=20 different points at the grille or fa=E7ade, rather than strictly from the=20 mouth. This causes problems with phase cancellation in different locations= =20 in the listening area, which has the effect of changing the stop's=20 character to a great extent. The ear is trained in perceiving such=20 differences, and will interpret the multiple source as being not a single=20 source of tone, but many, whereas the exposed pipe, especially at or near=20 the front, will be affixed in the listener's mind as being most=20 prominent. So, it's a complex equation, indeed...physical properties=20 balanced by the ear and brain's perception! It would seem a good road to take by having shallow swell boxes build of=20 highly reflective and physically non-yielding material. In this aspect,=20 Hope-Jones' idea of a stone or concrete box was really not off the=20 mark. Where Hope-Jones "blew it" was making the chamber deep with a=20 comparitively small tonal egress. Swell shade design in another=20 issue. The old wooden "venetian blinds", while not being terribly=20 absorptive, are also inefficient. Hope-Jones' fat, grooved, independent=20 "logs" were far more efficient, but were never truly open in his (and=20 Wurlitzer's) design, and were a tonal impediment. I look at the innovative= =20 aluminum shades of the ACCH Midmer-Losh and see great=20 possibilities. Aluminum, if properly damped is an excellent and efficient= =20 high frequency reflector, thus negating their effect on upper partials when= =20 shades are open. However, if they are double walled and internally=20 reinforced, and then evacuated to a high vacuum, they would become=20 excellent attenuators of ALL frequencies, as they would reflect the highs=20 back into the swell box (another effect that many on this list appreciate)= =20 AND would absorb far higher quantifies of lower frequency energy. If=20 atmosphere remains inside the hollow shade, low frequency mechanical energy= =20 from the box is simply transmitted through one aluminum wall, through the=20 trapped gas inside, to the other wall, and thence radiated out into the=20 listening area. Evacuating these shades with a common refrigeration vacuum= =20 pump would eliminate this mode of low frequency conduction, and the only=20 remaining path would be through the physical side structure itself. An=20 interesting proposition, indeed! Making a swell "box" where there are no=20 real walls at all on three sides, using such shades, might do much to=20 provide "exposed" organ sound when open, but desirable swell box effects=20 when closed. Anyway, enough for now. DeserTBoB
(back) Subject: Re: Websites with sound From: "Jenny Setchell" <firstname.lastname@example.org> Date: Mon, 19 Mar 2001 09:36:13 +1200 Hi Cindy, Yes, Cindy - have a look at http://www.nzorgan.com The Rieger in Christchurch, New Zealand) and click on the "LISTEN" stop knob.. I forget how many extracts there are exactly there but about a dozen assorted ones from Martin's cds on the Rieger. In MP3 format mostly, from memory. Not too big to download . Cheers Jenny mailto:email@example.com Look out for the latest CD from the Christchurch Rieger: Bonbons for Organ!. See www.nzorgan.com for details