PipeChat Digest #2453 - Thursday, October 25, 2001
 
Re: Piston dependency
  by <PHarri5833@aol.com>
Re: reed organ actions
  by "Bob Elms" <elmsr@albanyis.com.au>
Re: Piston dependency
  by "Bob Elms" <elmsr@albanyis.com.au>
RE: The Crescendo Crutch
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
RE: The Crescendo Crutch
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
RE: crescendo/tutti
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
Re: Bunjes (was crescendo/tutti)
  by "Panning" <jpanning@cal-net.net>
RE: piston dependence
  by "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org>
MIDI problem.
  by "Bob Elms" <elmsr@albanyis.com.au>
RE: crescendo/tutti
  by "Emmons, Paul" <pemmons@wcupa.edu>
Re: Hammond card for Allen
  by "Russ Greene" <rggreene2@home.com>
Re: MIDI problem.
  by "Noel Stoutenburg" <mjolnir@ticnet.com>
Re: Recent concerts in DFW
  by "Roy Redman" <rredman@imagin.net>
Re: MIDI Problem.
  by "Joshua F. Edwards" <fbcorganist@att.net>
Crescendo pedals
  by <quilisma@socal.rr.com>
 

(back) Subject: Re: Piston dependency From: <PHarri5833@aol.com> Date: Thu, 25 Oct 2001 06:44:26 EDT     --part1_15e.2d45d10.2909470a_boundary Content-Type: text/plain; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   In a message dated 25/10/01 10:15:07 GMT Daylight Time, Russ Greene < rggreene2@home.com> writes:   > I've often wondered and never have had it satisfactorily explained - why = do > most organists abhor the Crescendo pedal and at the same time why is the =   > Crescendo pedal so commonly installed on instruments spec'd by... = Organists ?   I can't comment on why some organists might spec them. The reason to avoid =   them is that they provide a progressive build up of tone - but it is = always the same progression. If you control the build up yourself, whether by dextrous grabbing of stop knobs or skillful use of a sequencer or programmable pistons, you have choice over the tone colour at each stage = of the build up.   Peter   Peter M Harrison Emmanuel Church, Holcombe Ramsbottom, Lancashire & P H Music tel: +44 (0)1204 853310 fax: +44 (0)1204 853445 web www.phmusic.co.uk   --part1_15e.2d45d10.2909470a_boundary Content-Type: text/html; charset=3D"US-ASCII" Content-Transfer-Encoding: 7bit   <FONT SIZE=3D2>In a message dated 25/10/01 10:15:07 GMT Daylight Time, = Russ Greene &lt;rggreene2@home.com&gt; writes:<BR> <BR> <BLOCKQUOTE TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I've often = wondered and never have had it satisfactorily explained - why do most = organists abhor the Crescendo pedal and at the same time why is the = Crescendo pedal so commonly installed on instruments spec'd by... = Organists</BLOCKQUOTE> ?<BR> <BR> I can't comment on why some organists might spec them. The reason to avoid = them is that they provide a progressive build up of tone - but it is = always the same progression. If you control the build up yourself, whether = by dextrous grabbing of stop knobs or skillful use of a sequencer or = programmable pistons, you have choice over the tone colour at each stage = of the build up.<BR> <BR> Peter<BR> <BR> Peter M Harrison<BR> Emmanuel Church, Holcombe<BR> Ramsbottom, Lancashire<BR> &amp; P H Music<BR> tel: +44 (0)1204 853310<BR> fax: +44 (0)1204 853445<BR> web www.phmusic.co.uk</FONT></HTML>   --part1_15e.2d45d10.2909470a_boundary--  
(back) Subject: Re: reed organ actions From: "Bob Elms" <elmsr@albanyis.com.au> Date: Thu, 25 Oct 2001 05:11:12 -0700   OK Bud. I have never seen one here. Our reed organs were mostly small - Cornish, Estey, some two manual Bells, Crown and the like. All had pish rods. They were mostly one manual and about 5 or 6 sets of reeds at the most, and all except one would have been of late 1800s vintage. The exception was an Estey of two manuals and pedal and with a good complement of stops that would have been made in maybe the 20s or 30s. It played like a pipe organ but I didn't see inside to find out how it worked.   I take it back, Ron. We could both be right! Bob Elms.   quilisma@socal.rr.com wrote: > > Depends, Bob ... there are late model reed organs in the US ... I think > Estey made one or two ... I KNOW Vocalion did ... with the reed boxes > elevated in the organ-case, rather than directly under the keyboard(s), = and > a very normal tracker action with stickers, squares, roller-boards, etc. = ... > and they FELT like playing a small tracker pipe organ. > > Ear    
(back) Subject: Re: Piston dependency From: "Bob Elms" <elmsr@albanyis.com.au> Date: Thu, 25 Oct 2001 05:17:41 -0700   Pretty harsh words, Jeff. Why should the crescendo pedal be left out? Maybe you don't like them , but so what?   The only organs I have seen with such a device in recent years have programmable crescendo pedals, and as such they are very useful.   The first of these I saw was on a cathedral organ in West OZ, but it was called a sforzando pedal - the organ was of 1903 vintage. Bob Elms.   J    
(back) Subject: RE: The Crescendo Crutch From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Thu, 25 Oct 2001 08:42:46 -0400   That does sound worse. Really a horror.   ---------------- Actually, there's an even WORSE malady which can affect = organists....called the Self-Reversing Reversible! Have you ever jabbed (or toed) the Full Organ button, only to have it reverse itself back to OFF again? :-)   Jeff     "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: The Crescendo Crutch From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Thu, 25 Oct 2001 09:23:26 -0400   You are an optimist. I think she's crescendo dependent. "How can I say that?" you ask. I find that when one is "playing" with a new instrument = one more tends to play around with the different voices and to hear what's available. It sounds to me like she was forging ahead into getting a sound out that she's used to hearing. Robert Colasacco   -----Original Message----- From: Brent Johnson [mailto:brentmj@swbell.net] Sent: Wednesday, October 24, 2001 9:32 PM To: PipeChat Subject: Re: The Crescendo Crutch     Yesterday I would jump in and say that I rely heavily on my crescendo pedal and couldn't live without one, and those that feel it should NEVER = be used are wrong, but I heard something today that, while not changing my opinion about the pedal, changed what I'm about to say. This afternoon I was assisting a new organist in getting familiar = with her new all-digital Wicks-Walker organ. She was not what most of us would call a "trained" organist, and she told me she plays mainly by ear. After familiarizing her with her new combination action, transposer, and other such toys, I let her play while I cleaned up. In her playing I heard what one could definitely call Crescendo Pedal Dependency. I should state that it most likely arose out of an unfamiliarity with the stops and registration, but what I heard was using the crescendo pedal to follow melodic lines, to add crescendi and decrescendi to moving lines. I was worried for a second that she might be "pumping" the organ to get the = sound out. For the time being, I'm going to chalk it up to her just getting to know the new organ, and hope that she'll move to the other shoes in the future! So I would say that I rarely if ever use the crescendo pedal in most literature, find it a handy tool in service playing, but most certainly = are not a dependent! Brent Johnson The Organ Web Ring http://www.geocities.com/organwebring The Organ Classifieds http://www.organclassifieds.com   ----- Original Message ----- From: <quilisma@socal.rr.com> To: "PipeChat" <pipechat@pipechat.org> Sent: Wednesday, October 24, 2001 12:58 PM Subject: The Crescendo Crutch     > I can't imagine playing my service WITHOUT a crescendo pedal ... how = else can > you build up and die away during verses of hymns (grin)? > > The problem with MOST crescendo pedals (alleviated somewhat, I suppose = by > modern programmable ones) is that they aren't set properly. IF mine can = be set, > it always runs: > > all unison couplers ON > softest Choir 8 > softest Swell 8 > softest Great 8 > > and so forth, all the way up to full organ WITHOUT the mixtures and the party > horn (grin). I find that most useful for accompanying. > > It's also very useful for those occasions when the PISTONS decide to = fail > mid-service. > > Cheers, > > Bud > > > > "COLASACCO, ROBERT" wrote: > > > Ugh!!! Goodness. THE CRESCENDO PEDAL ADDICTION. > > SCREEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEEECH!!! > > > > I'd rather die. My teachers instilled in me N-E-V-E-R - N-E-V-E-R use the > > crescendo pedal. NEVER. Then proceeded to okay it for the opening of > > Franck's III chorale and the finale of Suite Breve Dialogue sur le mixture. > > But NEVER, N-E-V-E-R elsewhere. NEVER. This, mon ami, is much worse = than > > Piston dependency. You can loose your organist friends for this. > > Robert Colasacco > > > > "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 > > > "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 > >     "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: crescendo/tutti From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Thu, 25 Oct 2001 09:27:10 -0400   This was my experience at the Church of the Heavenly Rest, NYC; the = tutti topped the crescendo by a few loud last remaining brass reeds. For that reason I was surprised when I received my Johannus to find that it's = tutti was the same pleno as the last stop on the crescendo line. I like the = pi=FA che crescendo tutti version better. It's the last say. robert colasacco   -----Original Message----- From: Harry E. Martenas [mailto:harrym@epix.net] Sent: Wednesday, October 24, 2001 10:08 PM To: PipeChat Subject: crescendo/tutti     Ken Earl said:   > The 'Tutti' "button" is usually programmed on a pipe organ to equal = the last > stage of the crescendo pedal.   Really? On most organs I've played, the crescendo pedal stops short of = full organ w/all couplers. So the tutti is reserved for that last all-out fortissimo.   > On pipe organs, the crescendo is (usually) > fitted with a 'soft stops off' device, so that the louder = combinations are > pure diapason chorii (with reeds where applicable).   Huh. Have never seen this - but sounds useful. (Although maybe not as = useful as multiple stored crescendo settings...)   /Harry     "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: Bunjes (was crescendo/tutti) From: "Panning" <jpanning@cal-net.net> Date: Thu, 25 Oct 2001 08:37:28 -0500   Speaking of Bunjes (as we have been on another list), Jeff White, whom I do not know, and whose organ is unfamiliar to me, writes about crescendo pedals and says of his instrument:   >The current church I play for has it set up this way, although the >16' >Holzposaune is the last position on the Crescendo pedal. I >don't mind that. >I'm just glad the Trompete 8 and Gross Dulzian 8 >are not on there. Also, no >subcouplers on either. (We only have >one: Chor to Great 16) > >Now, I DID have one thing changed IMMEDIATELY: and that was to remove = the >Terz 1-3/5 from both items. That only belongs on Solo registrations, = IMHO.   This is clearly an instrument designed by Bunjes or perhaps built without his direct involvement by a devoted disciple such as Berghaus: Holzposaune, Gross Dulzian, Chor. The Chor to Great 16 says that it's electric action; I would guess that it is either a Zimmer or Berghaus. Casavant is a possibility, though they didn't build too many Bunjes jobs after the early '70s, and I don't think Bunjes had employed Holzposaunen that early.   Any details, Jeff?   John  
(back) Subject: RE: piston dependence From: "COLASACCO, ROBERT" <RCOLASACCO@popcouncil.org> Date: Thu, 25 Oct 2001 09:39:31 -0400   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_01C15D5A.79FC9240 Content-Type: text/plain; charset=3D"iso-8859-1"   Okay Steve, I give up. Where do you play? You certainly got my curiosity. Robert Colasacco As for crescendo pedals, the organ I now play has 4 levels for the CP. Three of them are programable. Our "default" setting is ok, but I would never use it; instead, I have set Level C to be an "orchestral" crescendo pedal (no mixtures, some use of 4' couplers), and use it now and then when appropriate for anthems and solos. A few weeks ago, we had a big service where a parishioner, who is a Met Opera singer, sang a movement from the Brahms Requiem with the choir and, later, the Malotte "Lord's Prayer." = For the latter, I used the Orchestral Crescendo Pedal for the big buildup to great effect. It did everything that pushing successful general and = manual pistons would have done, but quicker and easier. Why not?!   Steve   ------_=3D_NextPart_001_01C15D5A.79FC9240 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">     <META content=3D"MSHTML 5.50.4522.1800" name=3DGENERATOR></HEAD> <BODY> <DIV><SPAN class=3D673383813-25102001><FONT face=3DGaramond = color=3D#800000>Okay Steve, I give up. Where do you play? You certainly got my curiosity.</FONT></SPAN></DIV> <DIV><SPAN class=3D673383813-25102001><FONT face=3DGaramond = color=3D#800000>Robert Colasacco</FONT></SPAN></DIV> <DIV><SPAN class=3D673383813-25102001><FONT face=3DGaramond color=3D#800000></FONT></SPAN>&nbsp;</DIV> <DIV><SPAN class=3D673383813-25102001><FONT face=3DGaramond color=3D#800000></FONT></SPAN>&nbsp;</DIV><FONT = face=3Darial,helvetica><FONT lang=3D0 face=3DVerdana color=3D#030025 size=3D2 FAMILY=3D"SANSSERIF">As for = crescendo pedals, the organ I now play has 4 levels for the CP. &nbsp;Three of them are programable. &nbsp;Our "default" setting is ok, but I would never use it; instead, I have set Level C to be an "orchestral" crescendo pedal (no = mixtures, some use of 4' couplers), and use it now and then when appropriate for = anthems and solos. &nbsp;A few weeks ago, we had a big service where a = parishioner, who is a Met Opera singer, sang a movement from the Brahms Requiem with the = choir and, later, the Malotte "Lord's Prayer." &nbsp;For the latter, I used the Orchestral Crescendo Pedal for the big buildup to great effect. &nbsp;It = did everything that pushing successful general and manual pistons would have = done, but quicker and easier. Why not?! <BR><BR>Steve</FONT> = </FONT></BODY></HTML>   ------_=3D_NextPart_001_01C15D5A.79FC9240--  
(back) Subject: MIDI problem. From: "Bob Elms" <elmsr@albanyis.com.au> Date: Thu, 25 Oct 2001 07:26:43 -0700   I have an AG portable organ, model H6, which is MIDI compatible. I have been trying to connect it to my computer so that I can use it to play MIDI files and write in notation organ music played on it. Should be a darned sight easier than to laboriously "mouse" it in. I am using Noteworthy which has MIDI compatibility. And I have the correct cable which fits the MIDI port on the computer and the IN and OUT MIDI ports on the organ. Setting up the AG is easy but still no joy. No communication between the computer and the organ. There are instructions in the HELP files of the computer, but they don't seem to make sense. I have done all they say but some of the instructions don't seem to fit the computer - maybe they are for WIN95. I am using WIN98. The computer is a Pentium 3, with 64 mB of RAM and a 6 Gig HDD. Noteworthy works very well with the mouse, and all the features seem to be working very well. Any ideas anyone? The AG is great. Good organ sound and very useful. I'd love to have one of the archive units too but I have to call a halt somewhere!! Bob Elms.    
(back) Subject: RE: crescendo/tutti From: "Emmons, Paul" <pemmons@wcupa.edu> Date: Thu, 25 Oct 2001 10:25:01 -0400   Jeff White writes:   >I also find that the Crescendo pulls everything on...flutes to principals to mixtures (preferably for me..NO REEDS   I've always been curious-- what is the rationale for leaving reeds off the crescendo pedal? I have played quite a few instruments at which the estimable incumbent has apparently gone to considerable trouble to remove them, but I just don't get it. It makes the crescendo pedal practically useless if you're already at mf or f before wanting it. (Maybe that is = the intent??)   A few large old organs also have a switch that removes the reeds from the crescendo pedal. I'm still not sure why that would be useful, but at = least it makes it an option rather than a hard-wired restriction.   Paul    
(back) Subject: Re: Hammond card for Allen From: "Russ Greene" <rggreene2@home.com> Date: Thu, 25 Oct 2001 09:42:40 -0500   On 10/24/01 8:04 PM, Dennis Goward wrote:   > There may be an aftermarket source for those cards, though. I remember > seeing an Allen Theatre Organ with a stack of cards 3" thick, many of = them > on that buff-colored card stock that was common for punch cards.   Likely the buff-colored cards were just the original variety issued by = Allen - I've got lots of them from the early 70's. Later on, Allen used color-coded, plasticized cards which are much more durable. Not aware of = an aftermarket source but the last Allen catalogue I have is very comprehensive.   Russ    
(back) Subject: Re: MIDI problem. From: "Noel Stoutenburg" <mjolnir@ticnet.com> Date: Thu, 25 Oct 2001 10:31:47 -0500       Bob Elms wrote:   > And I have the correct cable > which fits the MIDI port on the computer and the IN and OUT MIDI ports > on the organ.   My first two ideas on this:   1) This is so rudimentary that I hate to suggest it; have you tried switching the MIDI cables on one machine? MIDI out from one machine hooks to MIDI in on the next one.   2) Click   My Computer > Control Panel > Multimedia Properties > MIDI > MIDI OUT   (Instead of MIDI synth)   ns    
(back) Subject: Re: Recent concerts in DFW From: "Roy Redman" <rredman@imagin.net> Date: Thu, 25 Oct 2001 10:27:58 -0500   TWU had a 1928 Moller. It was extensively redone by Sipe-Yarbrough in about 1965. Most of the larger stuff, including the 16' open wood, were eliminated. Window box sliderless chests according to Hofmann designs, were installed on both sides of the stage for much new upperwork. In 1990 the aud. was completely reconstructed internally. It now has a = very   modern "slat house" kind of look. It was required that the organ be completely contained in rather small chambers on one side of the stage so that the other side could be freed up for dressing rooms. We rebuilt = the organ yet again using electric slider chests and existing pipework. A few things were added, including another open wood, as large as we could get in but not large enough, unfortunately, for this almost completely dead = room   as it developed. We had been promised a good acoustic, but so much for that, and the organ had to be completely finished for installation shortly after the hall opened. The organ has a great amount of versatility, but still retains much of the sound from 1965, which certainly is not the best for this acoustic. Roy   Blaine Ricketts wrote:   > Roy Redman wrote: > > > Tues Nov. 6 Dr. Thomas Brown on our organ at TWU 8:00 free > > Hi Roy, > > Around 1962, I took some classes at TWU. At the time there was a > Hilgreen-Lane organ in the auditorium. Is it still there or has it been > enlarged or replaced? > > Thanks, > > Blaine Ricketts > > "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: MIDI Problem. From: "Joshua F. Edwards" <fbcorganist@att.net> Date: Thu, 25 Oct 2001 11:30:45 -0400   Bob,   I don't know if you are already doing this, but on my last computer I had = to connect the Midi In Cable to the Midi Out on my keyboard and vice versa before it would work with Finale. Then it seemed to work just fine.   Josh    
(back) Subject: Crescendo pedals From: <quilisma@socal.rr.com> Date: Thu, 25 Oct 2001 08:34:26 -0700     --------------15AE4432584E4F9B01A4A6F3 Content-Type: text/plain; charset=3Dus-ascii Content-Transfer-Encoding: 7bit   I think the problem is with the disposition of the organs, not the device. On a fair-sized romantic/orchestral organ, it's perfectly possible to make a seamless stop-crescendo from softest to loudest, with no startling "bumps". That is LESS possible on a neo-baroque organ, and THEY probably SHOULDN'T have crescendo pedals, not to mention that the crescendo pedal itself is essentially a ROMANTIC registration device.   To my way of thinking, the crescendo pedal is VERY useful (essential?) in romantic Anglican service-playing and accompanying, where the basic sound is massed 8' stops, and you want to be able to shade the VOLUME of the basic sound, while maintaining a legato with both hands on the keyboard(s).   Yes, it's always the SAME progression (unless you have the luxury of a programmable crescendo pedal, and/or multiple settings ... Crescendo I, II, III, IV, etc.), BUT ... in the above scenario, the stop-crescendo WOULD be approximately the same, whether done by hand or by crescendo pedal ... strings, flutes, diapasons, reeds, 8, 4, 2.   My setting always runs:   All unison intermanual and pedal couplers ON; celestes, trems, chimes, harp, etc. OFF Choir - Dulciana Swell - Salicional Great - Violoncello Choir - Melodia Swell - Stopped Diapason Great - Doppel Flute Choir - Diapason Swell - Diapason Great - Diapason Choir - 4 flute Swell - 4 flute Great - 4 Flute Choir - 4 Octave Swell - 4 Octave Great - 4 Octave Choir - 2' Piccolo Swell - 2' Flautino Great - 2' Super Octave Choir to Great 4', if the Choir is weak Swell - 8' Oboe Swell - 8' Trumpet Swell - 4' Clarion Swell - 16' Bassoon Swell - Mixture (maybe) Great - 8' Trumpet   with the Pedal following along as best it can (grin).   Sometimes I bring the Swell Oboe in BEFORE any of the 4' stops, depending on what I'm accompanying. In that case, I MIGHT draw the Oboe by hand, if I don't have multiple crescendo settings.   The above, of course, presumes that there are already SOME 8' stops drawn, so the effect of the crescendo might not be audible until you got to the flutes, or the diapasons, or whatever.   Cheers,   Bud         PHarri5833@aol.com wrote:   > In a message dated 25/10/01 10:15:07 GMT Daylight Time, Russ Greene > <rggreene2@home.com> writes: > > >> I've often wondered and never have had it satisfactorily explained - >> why do most organists abhor the Crescendo pedal and at the same time >> why is the Crescendo pedal so commonly installed on instruments >> spec'd by... Organists > > ? > > I can't comment on why some organists might spec them. The reason to > avoid them is that they provide a progressive build up of tone - but > it is always the same progression. If you control the build up > yourself, whether by dextrous grabbing of stop knobs or skillful use > of a sequencer or programmable pistons, you have choice over the tone > colour at each stage of the build up. > > Peter > > Peter M Harrison > Emmanuel Church, Holcombe > Ramsbottom, Lancashire > & P H Music > tel: +44 (0)1204 853310 > fax: +44 (0)1204 853445 > web www.phmusic.co.uk   --------------15AE4432584E4F9B01A4A6F3 Content-Type: text/html; charset=3Dus-ascii Content-Transfer-Encoding: 7bit   <!doctype html public "-//w3c//dtd html 4.0 transitional//en"> <html> I think the problem is with the disposition of the organs, not the device. On a fair-sized romantic/orchestral organ, it's perfectly possible to make a seamless stop-crescendo from softest to loudest, with no startling = "bumps". That is LESS possible on a neo-baroque organ, and THEY probably SHOULDN'T have crescendo pedals, not to mention that the crescendo pedal itself is essentially a ROMANTIC registration device. <p>To my way of thinking, the crescendo pedal is VERY useful (essential?) in romantic Anglican service-playing and accompanying, where the basic sound is massed 8' stops, and you want to be able to shade the VOLUME of the basic sound, while maintaining a legato with both hands on the = keyboard(s). <p>Yes, it's always the SAME progression (unless you have the luxury of a programmable crescendo pedal, and/or multiple settings ... Crescendo I, II, III, IV, etc.), BUT ... in the above scenario, the stop-crescendo WOULD be approximately the same, whether done by hand or by crescendo = pedal .... strings, flutes, diapasons, reeds, 8, 4, 2. <p>My setting always runs: <p>All unison intermanual and pedal couplers ON; celestes, trems, chimes, harp, etc. OFF <br>Choir - Dulciana <br>Swell - Salicional <br>Great - Violoncello <br>Choir - Melodia <br>Swell - Stopped Diapason <br>Great - Doppel Flute <br>Choir - Diapason <br>Swell - Diapason <br>Great - Diapason <br>Choir - 4 flute <br>Swell - 4 flute <br>Great - 4 Flute <br>Choir - 4 Octave <br>Swell - 4 Octave <br>Great - 4 Octave <br>Choir - 2' Piccolo <br>Swell - 2' Flautino <br>Great - 2' Super Octave <br>Choir to Great 4', if the Choir is weak <br>Swell - 8' Oboe <br>Swell - 8' Trumpet <br>Swell - 4' Clarion <br>Swell - 16' Bassoon <br>Swell - Mixture (maybe) <br>Great - 8' Trumpet <p>with the Pedal following along as best it can (grin). <p>Sometimes I bring the Swell Oboe in BEFORE any of the 4' stops, = depending on what I'm accompanying. In that case, I MIGHT draw the Oboe by hand, if I don't have multiple crescendo settings. <p>The above, of course, presumes that there are already SOME 8' stops drawn, so the effect of the crescendo might not be audible until you got to the flutes, or the diapasons, or whatever. <p>Cheers, <p>Bud <br>&nbsp; <br>&nbsp; <br>&nbsp; <p>PHarri5833@aol.com wrote: <blockquote TYPE=3DCITE><font size=3D-1>In a message dated 25/10/01 = 10:15:07 GMT Daylight Time, Russ Greene &lt;rggreene2@home.com> writes:</font> <br>&nbsp; <blockquote TYPE=3DCITE style=3D"BORDER-LEFT: #0000ff 2px solid; = MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px"><font = size=3D-1>I've often wondered and never have had it satisfactorily explained - why do most organists abhor the Crescendo pedal and at the same time why is the Crescendo pedal so commonly installed on instruments spec'd by... = Organists</font></blockquote> <font size=3D-1>?</font> <p><font size=3D-1>I can't comment on why some organists might spec them. The reason to avoid them is that they provide a progressive build up of tone - but it is always the same progression. If you control the build up yourself, whether by dextrous grabbing of stop knobs or skillful use of a sequencer or programmable pistons, you have choice over the tone = colour at each stage of the build up.</font> <p><font size=3D-1>Peter</font> <p><font size=3D-1>Peter M Harrison</font> <br><font size=3D-1>Emmanuel Church, Holcombe</font> <br><font size=3D-1>Ramsbottom, Lancashire</font> <br><font size=3D-1>&amp; P H Music</font> <br><font size=3D-1>tel: +44 (0)1204 853310</font> <br><font size=3D-1>fax: +44 (0)1204 853445</font> <br><font size=3D-1>web www.phmusic.co.uk</font></blockquote> </html>   --------------15AE4432584E4F9B01A4A6F3--